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Moving beyond 35mm DSLR

H3DII-39, HTS 1.5, HCD 28

Moving beyond 35mm DSLR H3DII-39, HTS 1.5, HCD 28 Color Detail Optics From the lab Correctly
Moving beyond 35mm DSLR H3DII-39, HTS 1.5, HCD 28 Color Detail Optics From the lab Correctly
Moving beyond 35mm DSLR H3DII-39, HTS 1.5, HCD 28 Color Detail Optics From the lab Correctly
Moving beyond 35mm DSLR H3DII-39, HTS 1.5, HCD 28 Color Detail Optics From the lab Correctly
Color Detail Optics From the lab Correctly render the most difficult lighting Enough for final
Color
Detail
Optics
From the lab
Correctly render the
most difficult lighting
Enough for final crop
To capture every detail
Optical and
digital performance
render the most difficult lighting Enough for final crop To capture every detail Optical and digital
H3DII-39, HTS 1.5 with HCD 28mm, ISO 50. Nikon D3X, Nikkor TS24, ISO100. H3DII-50, HTS

H3DII-39, HTS 1.5 with HCD 28mm, ISO 50.

H3DII-39, HTS 1.5 with HCD 28mm, ISO 50. Nikon D3X, Nikkor TS24, ISO100. H3DII-50, HTS 1.5

Nikon D3X, Nikkor TS24, ISO100.

H3DII-50, HTS 1.5 with HCD 28mm, ISO 50. Picture is cropped to reduce image height (non-proportional).

is cropped to reduce image height (non-proportional). H3DII-31 H3DII-31 Canon ISO 100 ISO 800
is cropped to reduce image height (non-proportional). H3DII-31 H3DII-31 Canon ISO 100 ISO 800

H3DII-31

H3DII-31

Canon

ISO 100

ISO 800

ISO800

H3DII-31 Canon ISO 100 ISO 800 ISO800 The colors from the H3DII-31 are rendered correctly at
H3DII-31 Canon ISO 100 ISO 800 ISO800 The colors from the H3DII-31 are rendered correctly at
H3DII-31 Canon ISO 100 ISO 800 ISO800 The colors from the H3DII-31 are rendered correctly at
H3DII-31 Canon ISO 100 ISO 800 ISO800 The colors from the H3DII-31 are rendered correctly at
H3DII-31 Canon ISO 100 ISO 800 ISO800 The colors from the H3DII-31 are rendered correctly at

The colors from the H3DII-31 are rendered correctly at all ISO set- tings. The colors from the Canon and Nikon cameras show a clear color shift in several colors.

and Nikon cameras show a clear color shift in several colors. H3DII-31 Canon Nikon ISO100 ISO100

H3DII-31

Canon

Nikon

ISO100

ISO100

ISO100

Nikon D3X, Nikkor TS24, ISO100. The image shot with the Nikon camera, shows some unnatural
Nikon D3X, Nikkor TS24, ISO100. The image shot with the Nikon camera, shows some unnatural

Nikon D3X, Nikkor TS24, ISO100.

The image shot with the Nikon camera, shows some unnatural satura- tion whereas the H3DII image show the original colors of the scene.

Taking colors further

The H3DII image has detail all over the image area and thanks to the auto-
The H3DII image
has detail all over
the image area and
thanks to the auto-
matic Digital Lens
Correction in
Phocus, there is no
visible chromatic
aberration or distor-
tion in the image.
H3DII-39, HTS 1.5, HCD 28, f/16.
DAC corrected.
Nikon D3X, TS-24mm, F/11.
The Nikon image
has clearly less
detail and also show
some heavy chro-
matic aberration
which cannot easily
be corrected for as
it is not symmetrical
when the lens is
shifted.
H3DII-39,
Nikon D3X,
HTS 1.5,
TS-24mm,
HCD 28,
F/11.
f/16.

MTF diagram for HCD 28mm and HTS 1.5 at f/6.3. (10, 20 40 lp/mm)

100 80 60 40 20 0 0 10 20 30 40 MTF [%]
100
80
60
40
20
0
0
10
20
30
40
MTF [%]

Distance from Center [mm]

20 0 0 10 20 30 40 MTF [%] Distance from Center [mm] Edge detail from

Edge detail from test target image shot with H3DII-39 using HCD 28mm + HTS 1.5 at f/6.3. Area is indicated with a red box in the test target image below

Taking details further

MTF diagram for Nikkor TS-24mm at f/3.5. (15, 30 60 lp/mm)

0 6 12 18 24 30 MTF [%]
0
6
12
18
24
30
MTF [%]

Distance from Center [mm]

0 6 12 18 24 30 MTF [%] Distance from Center [mm] Edge detail from image

Edge detail from image shot with Nikon D3X using TS-24mm at f/5.6. Area is indicated with a red box in the test target image below.

f/11 100 80 60 40 20 0 0 10 20 30 40 Distance from center
f/11
100
80
60
40
20
0
0
10
20
30
40
Distance from center [mm]
MTF [%]

Actual test target (100cm × 75cm) and sample MTF diagram. The MTF diagram shows the lens performance from the center of the image to the edge as indicated by the two yellow dotted lines.

The photo on this page was shot with a state-of-the art 35 mm DSLR system comprising a 21.1 megapixel body and a f1.2/50 mm lens at ISO 100. The aperture stopped down to f2.0.

The easily visible red fringe running along the line of the shoulder proves that contrast of fine detail is un- doubtedly compromised by lateral chromatic aberration.

The rendition of low contrast detail in the corner of the image is suffering from the general drop in contrast near the edge of the image circle.

Sharpness isn’t just compromised near the edges of the image. The anti- aliasing filter in front of the sensor is placing an upper limit on the resolu- tion of lens and sensor combined.

anti- aliasing filter in front of the sensor is placing an upper limit on the resolu-
anti- aliasing filter in front of the sensor is placing an upper limit on the resolu-
anti- aliasing filter in front of the sensor is placing an upper limit on the resolu-
anti- aliasing filter in front of the sensor is placing an upper limit on the resolu-
Extract from Victor 2008 Photokina Special article “ The bigger the better” The photo on
Extract from Victor 2008 Photokina Special article “ The bigger the better” The photo on
Extract from Victor 2008 Photokina Special article “ The bigger the better” The photo on

Extract from Victor 2008 Photokina Special article “

The bigger the better”

The photo on this page was shot with an H3DII-31 with an HC 80mm lens at ISO 100. The aperture was stopped down to f2.8 to obtain the same depth of field as the 35 mm DSLR systems.

Lateral chromatic aberration is not an issue with the Hasselblad lens.

The advantage of a higher resolu- tion sensor continues to be visible even near the corners of the image, due to much better edge sharpness of the Hasselblad lens.

The high contrast of fine detail that the lens delivers can be fully exploited as there is no anti-aliasing filter limiting the resolution. Moiré artifacts are eliminated by the moiré tool in Phocus.

as there is no anti-aliasing filter limiting the resolution. Moiré artifacts are eliminated by the moiré

Fundamental advantages

Larger sensors and higher resolution

Medium-format CCD’s are more than twice as large as 35 mm sensors.

H4D-60: 53.7 × 40.2 mm

H3DII-39/50: 49.1 × 36.8 mm

H3DII-31: 44.2 × 33.1 mm

35 mm DSLR: 36 × 24 mm

 
44.2 × 33.1 mm 35 mm DSLR: 36 × 24 mm   More well-defined depth of

More well-defined depth of field

Due to the larger sensor, a Medium Format camera

produces a shorter depth of field at the same aperture, than a 35

mm DSLR. E.g. f/2,8 on a 36 × 48 mm format produces the same

depth of field as f/2 on 24 × 36 mm format.

• The same diameter of aperture or more correctly, the entrance pupil 1 produces the same depth of field on both formats

• The larger format requires a longer focal length for the same field of view

• The f-number = focal length / diameter of entrance pupil: Same diameter gives a higher f-number on the larger format

• The larger f-number reduces aberrations and produces a higher image quality

reduces aberrations and produces a higher image quality 1 Entrance pupil: The aperture viewed from the
reduces aberrations and produces a higher image quality 1 Entrance pupil: The aperture viewed from the

1 Entrance pupil: The aperture viewed from the front of the lens.

pupil: The aperture viewed from the front of the lens. Larger and brighter viewfinder image Compared

Larger and brighter viewfinder image

Compared to a 35 mm DSLR, the Hasselblad view- finder image is significantly larger and brighter.

Latest from the lab

• Full automatic Digital Lens Correction support for all HC/HCD lenses

• Full Digital Lens Correction support for all Carl Zeiss C type lenses (V System/H System+CF adapter)

• Full Digital Lens Correction support for all Carl Zeiss F/FE lenses (V System)

www.hasselblad.com

11.09 - UK v1 - 80500549