Hasselblad CFV 50 3034216 User Manual

User Manual

English, version 3.0

Congratulations on your new Hasselblad CFV!

The 16 Mpix based digital back is custom built to ﬁt the design and functionality of Hasselblad

cameras from the V-series with its range of high performance, leaf-shutter based lenses.

However, it can also ﬁt onto view cameras using the V-system interface plate for mechanical

attachment and ﬂash sync connection to trigger the digital capture for optimum compat-

ibility and economy. It provides both cable free and computer tethered options to suit all types

of work. The back oﬀers an ultra high level of integration, image quality and ﬂexibility to the

specialist professional photographer or highend amateur user.

Instant Approval Architecture: Limitless digital image capture loses some of its potential

if the photographer cannot quickly review and select the best image. Building on the suc-

cess 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 visible signals

for each image captured, telling the photographer immediately whether the image has a red,

yellow 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. A larger,

enhanced OLED display provides a realistic, high quality and perfect contrast image view,

even in bright sunlight, to allow instant on-site image approval. IAA is a Hasselblad trademark

and is patent pending.

Largeformatdigitalcapture: Today’sphotographersdemandhigherresolution, lessnoise, and

improved ﬂexibility, all of which the CFV addresses. It uses an optical format allowing for digital

capture with a sensor 50% larger than the physical size of today’s largest 35mm DSLR cameras.

The sensor can therefore hold more and larger pixels, which secure a high-end image quality in

terms of moiré free colour rendering without gradation break-ups in even the ﬁnest lit surfaces.

“Instant” user interface: The CFV is operated with a straightforward user interface with a

series of “instant” one-button-click operations including: instant capture, instant browse, in-

stant approval, instant zoom, and instant image info.

Three modes of operation and storage: Optimum portability and image storage are critical

for the professional photographer. CFV oﬀers a free choice of portable CF card storage, ﬂexible

Imagebank 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.

Hasselblad 3F RAW ﬁles: Hasselblad 3F image raw ﬁles carry full sets of metadata, including

capture conditions, keywords and copyright, facilitating work with image asset manage-

ment solutions. The ﬁles also deﬁne the colours in the Hasselblad RGB colour space, removing

the need for experimenting with diﬀerent colour proﬁles to get optimal colours and the need

for selective colour corrections.

DNG workflow: For customers familiar with Photoshop and the Adobe Camera Raw con-

verter, the 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 allows 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 full sets of metadata, including capture conditions,

keywords and copyright, facilitating work with image asset management solutions.

FlexColor workﬂow: FlexColor oﬀers an image processing workﬂow with the highest degree

of control for the studio photographer. 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 colour temperature and compare image details across

multiple images for precise image selection. FlexColor works on the basis of the 3FR RAW ﬁles

generated by the CFV. FlexColor runs natively on both Macintosh and Windows platforms and

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

Colour reﬁnement – new colour handling concept: Colour management solutions have in

the past imposed limitations on professional digital photographers, particularly when captur-

ing various skin tones, metals, fabrics, ﬂowers etc. To combat this, Hasselblad has developed

a new, powerful colour engine in its FlexColor workﬂow software. With one camera set up,

the new optimised colour engine produces reliable out-of-the-box colour without gradation

reproducing skin tones and other diﬃcult colours accurately.

•

This instruction manual describes in detail how to operate your camera, so please read it

carefully. If you have a query do not hesitate to contact your dealer − we want you to be 100%

satisﬁed!

You may also contact us directly over useability, construction, design, etc as we welcome your

feedback in order to improve our products. Your dealer can also provide you with the latest in

news and technical developments from Hasselblad.

A quarterly magazine − FORUM − is published with the emphasis on photographic imagery

featuring photographers from all over the world to provide you with inspiration!

Our internet site − www.hasselblad.com − is a source of general and technical information and

you can e-mail us for further inquiries − [email protected].

Your new Hasselblad camera provides access to the Hasselblad potential. The realization of this

potential is only dependant upon your skill, care and judgement as a photographer. We wish

you great success and welcome you to Hasselblad, the most comprehensive medium-format

system in the world.

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

General Introduction

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.

e CFV saves images as 3FR or 3F ﬁles which are Hasselblad raw digital-camera cap-

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

TIFF or JPEG formats instead if you wish. e CFV 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 CFV (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 the CFV when the unit is on.

Before you start

Leave protective covers on as much as possible. e CFV, 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.

In addition to the CFV itself, a CFV User Manual CD and a FlexColor soﬅware 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.

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

Protection cover CFV

FireWire cable

Exposure Cable 503

E-wipes

Focusing screen 36 x 36

Flash sync input cable

Exposure Cable EL

CF-Flash card (1GB)

Flash sync output cable

Adapter EL

Grey Card

Nylon Case

General overview

The 16 million pixel digital back can produce 16 bit

raw ﬁles at 33 Mbytes each at a rate of 35 frames per

minute.

FlexColor then processes these files to produce the

quality expected from Hasselblad.

In very simple terms, the CFV 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.

The CFV uses a CCD (Charged Couple Device) type sensor that has 16 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 the CFV 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 CFV is designed to ﬁt Hasselblad V model cameras primarily. Please check the

connectivity diagram for further details about the various models, including the

possibility of connectivity to large format cameras.

The CFV is an electronic device and consequently attention to power access 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

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).

Menu / (Menu Exit) button

Digital back retaining catch lock

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

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

commands within the menu system indicated by a label beside

the button on the preview screen.

Ensures that the digital back is not unintentionally removed.

ON /OFF button

Powers the digital back.

Display button

OLED preview screen

Steps through the various view modes for the preview

image: standard, histogram overlay, image details, screen

oﬀ and full-screen.

Displays preview images and the menu system even in bright light

and from acute angles.

Navigation button

Ready light indicator

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).

Flashes yellow 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.

Digital back retaining hook slots

Digital back retaining catch

Accepts digital back/magazine retaining hooks on camera body.

Locks the mounted digital back onto the camera body..

CCD and IR ﬁlter

Ventilator

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.

Ensures the processor is kept cool.

Flash sync IN terminal

Connects PC contact on C lens to back via the Flash sync input

cable for exposure sync.

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.

Flash sync OUT terminal

Connects back to ﬂash unit (via the Flash sync output cable) for

ﬂash syncronization when the PC contact C lens is already in use

(as above in ‘Flash sync OUT terminal’).

Databus connectors

For communicating with a Hasselblad ELD model camera body or

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

FireWire connector

Battery (not supplied)

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.

7.2V InfoLithium L type (Sony NP-F550 or similar)

Zoom-in button / SELECTION (+ button)

Battery retaining catch

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.

Ensures secure mounting of battery.

CF card slot cover

Zoom-out button / SELECTION (– button)

Protects card slot.

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.

Winder / EL terminal

Terminal for connection to a Hasselblad CW winder or Hasselblad

EL model camera body. Requires special cables (supplied).

Instant Approval / (OK) button

Digital back support slots

is button steps through the three approval levels,

thereby assigning an approval status to the image cur-

rently 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.

Accepts digital back/magazine support hooks on camera body.

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.

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.



CAUTION

If you remove the digital back, be very careful not to touch or scratch the CCD/ﬁlter

surface while it is exposed.

Always attach the protective cover for transportation or storage.

Powering the digital back

e CFV 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. Position the battery as in the illustration.

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 and slide the battery over it. 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.



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.

Shooting/image storage modes

e CFV can store captured images in three ways:

1. Untethered / Compact ﬂash card mode

In this mode the CFV 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 CFV directly to a computer and to operate the sys-

tem 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.

Using compact ﬂash memory cards

When shooting to a compact-ﬂash card, the CFV is completely

self-contained. No additional wires or connectors need to be at-

tached.

e CFV 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.

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 exter-}

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

older Image Bank is not compatible with the CFV. Only use the

Hasselblad Imagebank with a CFV.

To use an Imagebank with the CFV, 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 the CFV. e port on the CFV 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 the CFV are disabled.

The CFV 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 the CFV, which

in turn triggers the shutter and ﬂash/strobe lights (if any). e CFV 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.

General Overview

General

Using the menu on the CFV 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.

ISO setting

White balance

Current storage medium

The standard preview display is the one

shown when you first turn on the camera

and is probably the view you will use most

often. It features a preview of your most re-

cent shot and basic information about the

settings and the image itself. Several other

display modes are also available, including

histogram, capture details, full-screen and

battery saver. Please see Preview Modes

for details.

Approval status and

browse ﬁlter setting

-Button label

Furthermore, the display enables you to

navigate the menu system and make cam-

era settings; see Working with the Menus

for details.

Image ﬁle name

Storage capacity

(Shots taken / shots remaining)

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 arrowhead 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 row 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.

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.

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 (

) 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.

e following shortcuts are available:

• To set the browse ﬁlter

• To delete images

Press and hold until your preferred ﬁlter is indicated.

• See also Using Instant Approval Architecture.

Select the target image and then press and hold until the delete dialog opens.

• See also MAIN MENU / Delete.

• To toggle the overexposure indicator Pressandholduntilthedisplaybeginstoﬂash(orstopsﬂashing)itsoverexposedareas.

• See also Overexposure Indicator.

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.

Medium-type icon (Compact Flash)

Medium name

Number of green, yellow and red shot s

currently stored on the medium

The MEDIA list.

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 the batch was created

Number of green, yellow and

red shots in the batch

The BATCH list.

The blue frame around the middle

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

To select the current medium and batch using the browse con-

trols:

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:

•

Single-image preview

Four-thumbnail view

Nine-thumbnail view

Batch list

Media list

2. The screen now shows a list of media devices currently con-

nected to the digital back. Often, there is only one.

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).

3. 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 high-

lighted medium.

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

shows a folder icon, a name and the date on which it was cre-

ated. 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 use.

8. The currently selected batch shows a blue border.

9. Press the zoom-in button to zoom in on the currently high-

lighted batch.

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

appears.

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.

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’ conven-

tion) 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 de-

leted (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.



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

ton 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 underexposed. 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 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

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 Setting the Browse

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”, the CFV normally works by as-

signing 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.

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

button to see various levels of detail in

your images. 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

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

portion 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.

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.

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.

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.

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

indicator shortcut !

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

to white.

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).

Deleting images − general

e CFV 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.

e CFV 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

e CFV 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.

Working with the

menu settings

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. 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 navigator button

to open the sub-menu (or, in

some cases, a dialogue window)

-button label

(Here shown inactive)

-button label

Current menu name

(shown in upper case)

(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.

Menu structure

Entries of the main menu

Language

1. Press the 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 select the USER INTERFACE sub-menu.

5. Press either the

button to choose a new language

(in this case Japanese).

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 light meter inside

the camera body will use this setting when making automatic

exposure calculations for aperture and/or shutter settings.

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

button to step through the available ISO

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.



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.

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

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.

Sensor unit Setting

Sunlight

Usage comments

For general outdoor use in direct sunlight.

Cloudy

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 typical ﬂash system.

For use when using ﬂuorescent lighting.

Shadow



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

For use when shooting indoors under standard tungsten lamps.

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:

1. Press the MENU button.

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

3. Use the

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:

4. Press the MENU button to exit the menu system and keep

your setting.

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

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.

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

there are no images with that particular approval status.

Browse shortcut !

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.

STORAGE

This section describes ﬁle storage, ﬁle transference,

storage organization, ﬁle classiﬁcation and related

subjects.

Navigating the STORAGE settings

MAIN MENU > STORAGE

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 four images.

To delete a single image:

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

button to go to the four-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).

3. Select MAIN MENU > STORAGE > Delete.

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.

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

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.

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

setting by using the navigator button or

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

Menus for deleting

several images from

all batches from a

selected storage

medium.

Deleting several images from a selected medium

To delete several images at once:

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

button three times to go to the list of media.



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.)



4. Press to open the Delete Image dialog.



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.

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.

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.

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 for-

matting, 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 select-

ing 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.)

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.

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 the CFV

and then.

1. Press the MENU button.

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

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

dialog. Press to open the Copy dialog.



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

but-

ton to select the name of the medium you want to copy to.

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

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 CFV now tracks the progress

of the copy operation, which can take a few minutes. You can

stop the copy at any time by pressing and holding 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.

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

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.

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.

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

button to step through the available set-

tings until the default status you wish to use (auto, green or

yellow) 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.

SETTINGS

There are a number of settings grouped under the

general ‘Settings’ heading which are:

• User Interface

• Camera

• Miscellaneous

• Default

Navigating the

(1 - 99, Never)

USER INTERFACE

settings

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 CFV 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:

e CFV 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:

e CFV has an internal clock that keeps track of the date and time. is infor-

mation 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.

Setting the options under the User Interface menu

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 select the USER INTERFACE sub-menu.

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

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

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

and close the menu.

Navigating the

CAMERA settings

MAINMENU>SETTINGS>Camera

All Hasselblad V-system cameras can communicate with the CFV without the need for

extra cable connections except:

• Unmodiﬁed 200 series models using CF lenses in C-mode

• ArcBody

• FlexBody

View cameras (with the appropriate adapter and cables) can also be used.

e exposure time set on the CFV 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

through 1/2000sec. 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 the CFV which allows you to retain the default setting of 1/8 second while still be-

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

of the B setting.

Model setting variations

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!

Exposure Cable 503

For use with 503 CW models:

• Make a CW setting.

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

between the CFV and the Winder CW as in the illustration.

• Do not use the winder at rapid sequence setting.

ELD

For use with ELD models:

• Make an ELD setting.

Hasselblad 503CW plus winder CW

• 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.

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

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

Rapid sequence shots are not possible.

Adapter EL

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

ing of the EL models for battery attachment. It is attached to the CFV in the same manner

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

ELX

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

• Make an ELX setting.

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

All Hasselblad EL models

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

the “Exposure Time” setting.

• Rapid sequence shots are not possible.

Exposure Cable EL

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

ing of the EL models for battery attachment. It is attached to the CFV in the same manner

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

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 the CFV 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).

All Hasselblad EL models except ELD

Flash sync

For use with non-modiﬁed 200 series models (together with C-lenses in C-mode), an

ArcBody, a FlexBody or view cameras with a Hasselblad adapter.

• Make a Flash sync setting.

• The Flash sync input cable (supplied) should be connected to the Flash sync in terminal.

• 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.

SWC

For use with 903 SWC and 905 SWC models.

• Make an SWC setting.

PLEASE NOTE: Due to the mechanical design of the SWC, pressing the exposure release button

too slowly may cause a faulty capture with a magenta cast. Either press the button much more

distinctly or alternatively change the setting from SWC to Flash sync and use the flash sync

cable to connect the lens to the CFV.

200

For use with modiﬁed 202, 203 and 205 models together with F-lenses or CF-lenses in

F-mode. (Only these three models can be modiﬁed for cable-free compatibility with

the CFV. Please contact your Hasselblad dealer for further information)

• Make a 200 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 mod-

els.

• Make a 500 setting.

Shutter Delay

ere can be diﬀerences in the amount of time required in prepara-

tion (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, ensuring 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.

Capture Sequence

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

button to select camera model.

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

TIME if required.

8. Press either the

required.

button to make new settings if

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

keep your settings.

Connectivity diagram

500 C/CM

501 C/CM

503 CX/CXi/CW

SWC / SWC/M

903 SWC

905 SWC

202FA/203 FE / 205 TCC /

205 FCC

With F type lenses and

CF type lenses set to F

(Requires minor camera

modiﬁcation)

Requires included battery

555 ELD

adapter for portable use

For computer control

503 CW +

of 503CW+Winder CW use

Exposure cable 503 CW

Winder CW

Hasselblad CFV

For computer control of EL/

ELM and ELX use Exposure

cable ELX

500 EL/ELM

500/553 ELX

Requires included battery

adapter for portable use

2000 FC / FCM

2003 FCW

201 F / 203 FE

205 TCC / FCC

With C type lenses

Flash sync

ArcBody,

input cable

FlexBody

Note: For exposures longer

than 1 second, always use

ﬂash sync input cable

Any view camera with

Hasselblad V system

adapter

Setting CAPTURE SEQUENCE

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

button to select PINHOLE.

7. Press or to select EXPOSURE TIME.

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

9. Press to select CAPTURE SEQUENCE.

10. Press to open the CAPTURE SEQUENCE menu.

11. Press either the

setting.

button to make an INITIAL DELAY

This setting controls the amount of time that elapses

before the ﬁrst exposure in the sequence.

12. Press to select DELAY.

13. Press either

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

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 CFV 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.

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 you

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

button to step through the available set-

tings 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.

The About box

Occasionally, Hasselblad may release updates to the internal soﬅ-

ware 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 im-

portant to know the serial number and current ﬁrmware revision

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.



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.



Flash / Strobe

The CFV can be used together with most studio or

portable units.

When attached to a 503CW, the TTL function is also

available.

Most ﬂash units are suitable for use with the CFV. However, for the sake of safety, care should be

taken when using studio ﬂash units (strobe) and tethered 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.

��

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 only

A TTL function is only available with the 503CW. 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:

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

than the ISO setting on the CFV. 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.

Cleaning

Regularly check the surface of the sensor filter for

dust specks that might cause time-consuming re-

touching 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. While keeping the magazine catch lock depressed, slide the magazine catch to the

right.

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.

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.

Equipment care,

Service and Guarantee

EQUIPMENT CARE

•

Prevent dust and grit from getting into your equipment. In coastal areas take

•

Keep all equipment and accessories out of the reach of small children.

Do not place heavy objects on the equipment.

measures to protect your equipment from sand and salt water spray.

Avoid physical shocks to the CFV. Some form of protective case or camera

bag is advised for transportation.

Do not use the batteries except as speciﬁed.

Use only the batteries speciﬁed for use with the CFV.

•

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.

Remove the batteries when cleaning the camera or if you intend to leave it

unused for a long period.

•

If you use spare (standard or rechargeable) battery packs be particularly

careful to use the supplied protective cap 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

Return your equipment to a service centre for occasional checking and

preventive maintenance to ensure optimal reliability.

•

Take particular care when working with strobe / studio ﬂash units to prevent

damage to equipment and personal injury.

•

Do not attempt to open the CFV.

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 the CFV. 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 CFV openings.

Keep the original shipping boxes for storage.

Keep your CFV and all other computer equipment away from moisture. If

your CFV becomes wet, disconnect from power and allow it to dry before at-

tempting to operate again.

DISPOSAL

If you need to dispose of the CFV, Imagebank and/or batteries, please

do so in an environmentally friendly manner at the local waste plant/

recycling centre or similar.

•

Never cover the ventilation openings on the CFV 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

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.

•

Technical speciﬁcations

Product number

3034200

Sensor size

16 million pixels

Sensor dimensions

Lens factor with V camera

Shooting mode

36.7 x 36.7 mm

1.5

single shot

Multi shot upgrade

1 GB CF card holds

File format

not available

45 images

Lossless compressed Hasselblad 3F RAW format (3FR) or 3F

35 frames per minute

Capture rate

Image storage

• CF card type II

• 1000 GB portable Imagebank

• computer disk with tethered shooting mode

Software

FlexColor (included) 3FR to Adobe DNG converter utility

16 bit

Colour deﬁnition

Dynamic range

12 f-stop

Color management

Hasselblad RGB

• full dynamics

• reproduction dynamics

Color display

OLED type, 2.2 inch, 24 bit color

Mounted on CCD sensor

IR ﬁlter

ISO speed range

50, 100, 200, 400

Longest shutter speed

Battery power

32 seconds

SONY InfoLithium L, up to 8 hours of shooting capacity

IAA - Instant Approval Architecture

Included, with:

Histogram analysis

Acoustic feed back

yes

Computer support

Macintosh: OSX

PC: NT, 2000, XP

Host connection

FireWire 800 (IEEE1394b) output from CFV (computer FireWire input might restrict to 400).

0 – 45 deg. C / 32 – 113 deg F

Operating temperature

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.

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

Victor Hasselblad AB

Box 220,

Hasselblad A/S

Hejrevej 30,

SE - 401 23 Göteborg,

Sweden

DK - 2400 Copenhagen,

Denmark

Product number: 3034200

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