User manual HASSELBLAD POLA PLUS

[. . . ] This allows for much greater freedom in "placing" the image area within the now much broader circle before vignetting takes effect. and most importantly, all this happens without moving the orientation of the camera in relation to the subject. so if verticals, for example, are acceptable in the viewfinder, they will remain so whatever the amount of shift to include the "hidden" parts of the image. "Tilt" differs from shift in that the normal perpendicular orientation of the lens to the film plane is changed resulting in a change in the plane of focus. [. . . ] "Tilt" differs from shift in that the normal perpendicular orientation of the lens to the film plane is changed resulting in a change in the plane of focus. This means that at any given aperture/focus setting, the depth of field in the subject will not remain as simply the space between two measured points from the camera as is normally the case, but increased or decreased. By combining these two laws of physics, the doors of creative solutions are thrown wide open. The list of situations that could advantageously exploit tilt and shift is probably longer than it might first appear to be. for some professional photographers it could rapidly become an essential item for all work. Large-format users have been using tilt and shift for many years, partly because they could, but partly because they had to. some photographic solutions unfortunately, have also created problems, lens edge performance, for example, being one of them. The dilemma that arose forced photographers to find a compromise, between the "illness" and the "cure". hasselblad has now eradicated this dilemma. With the introduction of automatic chromatic aberration correction computation (daC), significant improvements strike the viewer immediately. Tilting the whole camera would produce converging parallel lines. But by shifting the lens parallel to the image plane, you can raise or lower the view without tilting the camera. If the subject is a building as in this example, the camera should be placed level. Camera positioned level. The roof of the building is outside the area projected onto the sensor (HC28 + HTS). The complete camera tilted upwards to include the top of the building results in converging vertical lines in the image. The camera positioned level again with an upward lens shift of 9 mm applied results in parallel verticals. www. hasselblad. com TILT and shIfT adapTer Use Of TILT By tilting the lens in relation to the image plane, you can effectively tilt the plane of sharpness in the subject. depending on your idea of the final image you can either use tilt to enlarge the apparent depth of field or reduce it. The full image HCD28 + HTS 1. 5 at f/11 No lens tilt produces some lack of sharpness in the foreground and background, partly due to insufficient depth of field. Lens tilted a few degrees to the right produces an image with perfect sharpness from the foreground to the background. Lens tilted a few degrees to the left produces an image with an apparent shallow depth of field. www. hasselblad. com TILT and shIfT adapTer sTITChInG The hTs 1. 5 lends itself extremely well to automatic stitching to create a panoramic image in super high quality. With most subjects it will be impossible to detect any dividing line between the separate images. The main reasons for this are: · Thelensisshiftedsidewaysandthereforedoesnotproduce any distortion of the subject · TheDAClenscorrectionfordistortionandvignettingensures perfect images that can easily be stitched together The resulting image can be created in any high-end stitching software, e. g. the "photomerge" function in adobe photoshop Cs3 or later. prOCedUre place the camera on a tripod and aim it at a subject. Then set the hTs 1. 5 in the normal position with no tilt or shift. [. . . ] prOCedUre place the camera on a tripod and aim it at a subject. Then set the hTs 1. 5 in the normal position with no tilt or shift. rotate the hTs 1. 5 with the controls facing up to allow for sideways shift. Make the first exposure in the mid position. [. . . ]