Canon IXUS 240 HS
Canon PowerShot SX240 HS
Nikon D800
Samsung DV300F
Olympus OM-D E-M5
Nikon Coolpix P510
Canon PowerShot SX260 HS
Panasonic Lumix DMC-TZ30
Nikon Coolpix S9300
Hasselblad H3D
Hasselblad Press Release
Hasselblad Launches World’s First 48mm Full-Frame DSLR Camera System - With a new, fully digital strategy, Hasselblad sets new benchmark in high-end DSLR camera systems for professional photographers.
Hasselblad is today firmly positioning itself as the pre-eminent provider of high-end digital cameras with the launch of the Hasselblad H3D, the world’s first 48mm full-frame DSLR camera system. The H3D is the result of Hasselblad’s strategy of taking photographic flexibility and image quality to new levels, as yet unseen in any competing product. When compared with high-end 35mm DSLRs, the H3D delivers unmatched pixel resolution, better colors and detail rendering and a new choice of viewfinders for creative image composition. In comparison with digital backs, the H3D delivers image quality with a higher level of detail and true sharpness thanks to Hasselblad’s Digital APO Correction (DAC) and the advances of its new Ultra-Focus functionality. The H3D’s full-frame concept offers unique control of image composition and with its new 28mm lens, the H3D allows photographers for the first time ever to take wide angle shots on a 36 x 48mm sensor.
Christian Poulsen, CEO of Hasselblad comments: “The digital revolution prompted many professional photographers to adopt high-end 35mm DSLRs as their back-up or even their main camera. But as the most demanding photographers have become acquainted with the technology, the feedback we’ve had indicates that high-end 35mm often doesn’t offer the required image quality. Many photographers also miss the high-end camera system’s additional photographic flexibility that is beyond the physical parameters of the high-end 35mm DSLR, which was originally designed for ultra-fast shooting environments. Hasselblad has been deluged by requests from traditional camera back buyers for true wide angle photography and extended image quality. We’re confident that in the H3D, a logical evolution of the H1D and H2D, professional photographers will find the complete photographic solution for these needs. What Victor Hasselblad managed to develop with the classic V camera system, the H3D now extends into the digital age.”
Size matters
The H3D is currently available in two models, the Hasselblad H3D-22 and the Hasselblad H3D-39, offering image capture with a resolution of either 22 or an unsurpassed 39 megapixels on the largest image sensor currently available in digital photography – more than twice the size of a high-end 35mm camera sensor. The system’s viewfinders and extra large and bright lenses enable extremely precise compositions and easy operation in dim lighting.
Ultra-Focus and Digital APO Correction boost lens performance
The H3D is built around a brand new digital camera engine, providing a new standard of image sharpness, ‘Ultra-Focus’. In the H3D camera, information about lens and exact capture conditions are fed into the digital camera engine for ultra-fine-tuning of the auto-focus mechanism, taking into account the design of the lens and the optical specification of the sensor. By then adding Digital APO Correction (DAC) – digital, APO-chromatic correction of the color aberration and distortion in the images - Hasselblad raises the performance of the full HC lens range to a new level of sharpness and resolution and, with perfect pixel definition, optimizes the basis for image rendering.
World’s first 28mm wide angle lens for 48mm DSLR camera systems
Hasselblad has designed a new 28mm wide angle lens especially for the H3D. To achieve the necessary optical performance, the Hasselblad lens designers have taken full advantage of the Ultra-Focus and DAC functionality to ensure that outstanding images are produced by this extraordinary lens. Photographers who work with the H3D and the HCD 28mm lens will be amazed by the full-frame composition and unmatched wide angle image quality.
New waist-level viewfinder
Taking the V System’s lead, Hasselblad is launching an interchangeable, waist-level viewfinder for the H system cameras. The new waist-level viewfinder is a superb composition tool that allows the photographer to maintain direct eye contact with the model throughout the shoot, particularly important for fashion and people shoots. The H3D thus offers a choice of viewfinders – eye- or waist-level – an important flexibility for the professional photographer.
Hasselblad Star Quality
To define the core parameters of optimal image quality, Hasselblad is introducing its Hasselblad Star Quality standard. Traditionally, resolution or the number of pixels on the sensor has been perceived as the most important quality factor in digital photography, but in fact other parameters have similar or even greater impact – sharpness, the definition of small details, color and low noise. Hasselblad has spent the last two years developing the underlying technology to optimize these parameters:
Resolution: – State of the art 39 megapixels
Sharpness: – Ultra-Focus and DAC
Small details: – Single shot interpolation
Color: – Hasselblad Natural Color Solution
Low noise: – Digital noise reduction
With the introduction of the H3D, Hasselblad has produced a camera system that can deliver the highest image quality to date.
Photographic Flexibility
To allow the photographer to shoot the most creative and best composed images, the H3D has also been developed for maximum flexibility:
Viewfinder flexibility: - The system offers a choice of viewfinders for image composition and is compatible with Hasselblad’s standard H System lenses and the new 28mm digital HCD lens.
Tilt and Shift flexibility: - The digital capture unit can be used on a view camera with tilt and shift functionality.
Storage flexibility: - The H3D also gives the professional photographer three options for image storage: on a CF card, to a Hasselblad Image Bank (a 100GB drive with a write speed of up to 60MB/sec) via FireWire, or the tethered operation with extended, special capture controls.
Film flexibility: - In exceptional circumstances, such as extreme heat or cold or extremely long or short exposure times, it is also possible to switch to film.
With these operating and storage options, the photographer is able to select a mode to suit their work, whatever the nature and whether in the studio or on location.
Christian Poulsen concludes: “It has been a major achievement for Hasselblad to have implemented its new, fully digital strategy. We are confident that the H3D, the first product resulting from the new strategy, will set new standards for digital photography, even when compared with the best 35mm DSLR cameras and digital backs. In pursuance of our objectives, we will continue to focus on bringing to market digital products that offer flexibility and the best possible image quality, and on working with existing and new Hasselblad users to help them take full advantage of the potential that digital technology holds for them, both creatively and commercially.”
The new H3D is available immediately worldwide through Hasselblad’s national subsidiaries and channel partners at retail prices to be announced at Photokina.
An H3D upgrade program is available for current H1D and H2D users.
Canon IXUS 240 HS Review
Canon PowerShot SX240 HS Review
Nikon D800 Review
Samsung DV300F Review
Olympus OM-D E-M5 Review
Nikon Coolpix P510
Panasonic Lumix DMC-TZ30
Canon PowerShot SX260 HS
Fujifilm X-Pro1
Sony Cyber-shot DSC-HX200V
#1 m gottlieb
This is NOT full frame. Full frame is 6x4.5cm, and this is definitely not.
Next, this is a closed architecture system. Hasselblad did this solely to force people to buy their Imacon backs. All their explanations given are disingenuous blather.
Owners of P1, Leaf, and Jenoptik backs just lost tens of thousands of dollars. I hope photographers shun Hasselblad. This level of cynicism beats the White House.
I hope this makes photographers pay attention in Economics 101: diminishing returns. Anyone who cannot live without this level of resolution would be far better served by Canon's full frame 16 MP body.
I'm sure I do not have to explain the evolution of the 35mm system, as well as its continuing viability.
4:50 am - Monday, October 2, 2006
#2 GARY POGODA
M, I'm not sure that I see your point about full-frame. As you are well
aware, there are different definitions for full-frame based on different
format. Full-frame for 35mm format is 36 x 24 mm, and full-frame for
medium format is (as you pointed out) 60 x 45 mm. These definitions
were never carved in stone; rather, they evolved over time, and even
to this day, you'll still find those who will argue over their dimensions.
So why is it so hard to accept that the H3D is a '48mm' format camera
whose full-frame is 48 x 36 mm?
7:05 am - Monday, October 2, 2006
#3 m gottlieb
Let us suppose that Nikon introduces a D300, and states "We are proud to announce the D300, a full frame digital SLR." Then, the press release states the size of the CCD is 16x24mm. Can you imagine the howls?
The critics would be asking "Since when is 16x24, full frame?"
Unless Hassy has just re-written industry standards, calling 48x36 full frame is advertising hyperbole, which goes along with stating their closed platform is to benefit photographers.
They closed their architecture to force customers to buy Imacon, and to call 48x36 "full frame" is Orwellian.
When Leica introduced the M8, they stated it has a 1.33 factor. They did not claim it had a full frame chip.
Anyone who sees "full frame" is going to assume that Hassy/Imacon has developed a 6x4.5 chip. And they're really going to be angry when they learn what Hassy's definition of full frame is.
I am not the only one. Michael Reichmann said it best of all. I was just disappointed that your site reprinted Hassy's press release without taking a critical look at what was in it.
See: http://luminous-landscape.com/photokina/H3-concerns.shtml
8:21 am - Monday, October 2, 2006
#4 Gary
Get a GRIP......
Leave Hassy alone...... the actul size of a 6cm x 4.5cm is 55.5 mm x 42.5 mm, give or take a couple of .mm's. Thats the image area on every one I've used.
Advice: Just use the bloody thing.... and get your hand OFF it! if you know what I mean.
9:25 am - Monday, October 2, 2006
#5 GARY POGODA
M, I would agree with your argument if Hasselblad were claiming the
H3D to be a 'medium format' full-frame, but if you look closely at their
press release, they never once make that claim.
As for their 'closed' architecture, I seem to remember a little company
called Apple doing the exact same thing with their Mac OS.
BTW, a different Gary in #4.
1:36 pm - Monday, October 2, 2006
#6 nick in japan
Comments contributed with an underlying feeling of hate, kinda identify the sender as having deep-set problems, with alot of things.
Disagreement is one thing, disrespect becomes unbecoming, especiaqlly for someone with obvious superior mental abilities.
10:17 pm - Monday, October 2, 2006
#7 Dean
Not sure how many of you were in the room as dealer partners when this product was announced, but I was, and had the benefit of hours of discussion with the senior management of Hasselblad to understand more about the H3D. Please understand that the H3D DID NOT evolve out of Hasselblad's wish just to create another product, rather, the market has been demanding the ability to capture wide angle, and deal with chromatic aberation and focus issues. The only solution was (is) to develop even better communication between the lens and the digital file via the camera body, so the software can make the necessary corrections. The other back manufacturers have not asked Hasselblad to make these improvements accessible to their digital backs, so at the moment, only Hasselblad digital backs enjoy these advances. Because of this intimate communication between the body, lens and back, the new 28mm HCD lens will only work on the H3D, but I think I am missing the reason for all the upset here. All the other HC lenses will continue to work with H1 and H2 systems, and owners of digital backs other than Hasselblad ALREADY are missing out on the advances in the H2 (since the improvements in H2 over H1 are only evident with Hasselblad digital solutions), so the solution is quite simple; continue to use the H2 and all the lenses (except the 28mm) with whatever digital back you own. If you find that the features and benefits of the H3D are ones you would like, either purchase the H3D system and be done with it, or press your manufacturer to enter discussions with Hasselblad to implement acceptance of that product on the H3D. Hasselblad did this for years before they joined forces with Imacon.
Just a final note. The term "full frame" in this market has been used for years now, by Phase, Hasselblad, and Leaf, so lets get over the "confusion" and anger of its use this time around. Prior to the 28mm HCD, lenses and viewfinders covered MORE area than the sensor, so what you saw in the viewfinder and what the sensor recorded did not match. Now, Hasselblad has corrected this by engineering a lens that fits the size of the sensor AND the viewfinder. The result is a wide angle lens that actually captures on the sensor what you see in the viewfinder. If it will make the pundits happy, how about calling it "as viewed capture", or "what you see capture". Just kidding of course, but I trust you see the point.
Interesting to note also how few comments I have read on the stunning image quality that Ultra-Focus delivers, or how the new Flexcolor software is able to correct perspective distortion and chromatic aberation. Its like a new book coming out on the market that people with another authors book just hate right away, not for the content, not for its cover or binding, but because of the bag the store owner delivered it to you in. Get over it, and brace yourselves folks, because it is highly unlikely that Hasselblad is done engineering new products and new solutions. The H3D is just the tip of the iceberg.
10:04 am - Wednesday, October 4, 2006
#8 GARY POGODA
I wasn't in the room, so thanks for all the inside (and interesting) info.
11:59 am - Wednesday, October 4, 2006
#9 Greg
Dean, Thanks or the info, it's nice to see someone posting actual information!
2:29 pm - Wednesday, October 4, 2006
#10 Greg
Hey M,
I hate to break it to you, but Reichman is not some God to be followed, he is not the leader, don't drink the Kool Aid! He has had a grudge against Hasselblad for many years, he has not looked at the product in a non-biased fashion at all. You will note that not once does he talk about the features or benefits, he just spins the information to fit his agenda.
2:34 pm - Wednesday, October 4, 2006
#11 Mike
What is full frame anyway? 6x6, 6x4.5, 6x7, 6x9??
4:41 pm - Wednesday, October 4, 2006
#12 GARY POGODA
If you're talking about medium format 120/220 film, those are all valid
full-frame sizes.
5:27 pm - Wednesday, October 4, 2006
#13 Mike
So now we have 48x36, it seems like that size chip is going to be here for a while, so why not develop a camera around that?
6:43 pm - Wednesday, October 4, 2006
#14 GARY POGODA
Agreed, Mike. It makes no sense to confine medium format digital to
medium format film conventions. Although I must admit, I would feel
better about Hasselblad's use of the "full-frame" terminology if, when
the H3D's 120/220 film magazine is used, a "FULL FRAME" is covered.
8:31 pm - Wednesday, October 4, 2006
#15 Dean
If I might, Mike is correct in concluding that the 36x48 sensor will likely be around for some time. It turns out that the demand for a larger sensor is actually not sufficient to offset the enormous additional manufacturing costs, due largely to the low yeild of CCD sensors and the reduced number of sensors that could be derived from the finished wafer. In the end, while a full 6 x 4.5 sensor is probably doable, no one would want to pay for it, so why make it. The only good reason would be to have a 1:1 ratio of medium format lenses to the sensor, but if the upcost was 200% or more, people would soon see the small magnification factor as not such a big deal after all.
As for the terminology of full frame, remember how totally arbitrary these values are. I am not old enough to recall exactly why 120mm film was not made 100mm or 150mm, but I suspect it had something to do with keeping this relatively wide film flat during exposure. Given that, lens manufacturers began to adopt this as a standard, and today we live with that legacy. Forget format, think sensor size. In time, undoubtedly manufacturers will deliver more and more optics that provide perfect coverage of these 36x48 sensors, but we are still in a 1/4 film 3/4 digital world, so we need to be patient until those last few film folks convert.
Just my 2 cents.
11:19 pm - Wednesday, October 4, 2006
#16 nick in japan
I'm an old user of the old 120/220 film, even rethreaded some 120 on a 620 spool, absolutely love to use it, but can't wait for the results!
Some different sizes were tried, 116, 117, 628 and 620, all basically 120 " Brownie" film tho, spool sizes were a bit different.
I don't have that many years left but I hope that the new OLED might somehow be adapted to a medium format camera, as a EVF ONLY, thus leaving the use of the film.
OLED gives an ACCURATE visual of what you are shooting, not like the marginal evfs of todays cameras. Being assured of your image quality would then allow the shooter to clunk away knowing what he/she will get, as with the instant proofing that digital gives us. I wouldnt mind a short wait for the film processing if I knew it was gonna be a good image. Scanning would give us that beautiful, huge pixel count... no need for a huge sensor!
The future is almost here, the problem to this point has been the life expectancy of the OLED, Sanyo may have fixed that, as evidenced in there small video/still camera that uses one.
3:18 am - Thursday, October 5, 2006
#17 Staffan Ehde
Well, if you ordered a H2D 39 in April, got it in June 2006 and three months later you find yourselfe with an old model, you must wonder what Hasselblad is doing. That happened to me, and they wont comment on this at all. Besides the camera I have has so many problems it affects my working, in a middle of a shoot with models etc, the camera keeps on locking itself or does not flashsync, no comments on that either other than upgrade software (believe me Ive done that)
Stay away from a dangerous investment!
7:20 pm - Wednesday, October 11, 2006
#18 Staffan Ehde
Well noe 6tehy reacted, took care of the problem, and will upgrade me for free! Viva Hasselblad!
5:03 pm - Sunday, October 15, 2006
#19 Dean
As far back as the original Imacon Ixpress backs with the "vanilla" or non-colour displays, Imacon/Hasselblad has stood firmly behind a policy of extending great upgrade path deals to existing owners, and as Staffan has just pointed out, the H3D is no different. This has traditionally included even the scanner family, wherever it was technically possible. I'd like to see BMW offer 2005 owners a nominal price option to upgrade to the 2006 model, but we all know it will never happen. Upgrades like this DO NOT happen in many industries, and even within this industry, not every manufacturer offers this. The cost to Hasselblad is sizeable, but the value of the client is more important.
I have been asked if I work for Hasselblad - no I do not. However, I am a dealer for Hasselblad Digital solutions, and if you are able to take a fresh, non- "Luminous" objective view of what this family of products offers today, and have an open enough mind to imagine what is possible tomorrow, I think many people will see that Hasselblad is on the right path, the only path, to continuing to deliver professional products to professional shooters. Hasselblad, Phase One and Leaf all make excellent products, but technical excellence and the ability to continually deliver solutions that move the craft forward are two very different things. Next time you are near your light box, pull out a few 6x6 trans that you shot a few years ago, and take a really good look with your loupe. See all the schmutz from the processor? See all the transport scratches and kinks in the film base? Then remember how we all considered that trany a perfect select in its day. Now bring up your last digital image and size it up to 200% on screen. Start noting the chromatic aberrations, colour aliasing, banding, flaring, etc., and realize that today, you can fix all those issues. This was not even within our imaginations 5 - 10 years ago. 5 years ago what Hasselblad is offering TODAY in the H3D would have been straight out of Star Trek, but tomorrow, it will be mainstream. Yes, our demands on image quality have certainly changed, and with new tools, like the H3D, we are able to move past old problems and look to fix new ones. That’s progress. That’s Hasselblad.
11:56 pm - Wednesday, October 18, 2006
#20 nick in japan
I have quite a large collection of cameras, I sure would love to add a Hassy to it, with a digital back, not for the name, but for the hands-on workmanship the camera is noted for.
America's Next Top Model is on tonight, my daughter will call me when the Hasselblad starts working out, awesome!
5:56 am - Thursday, October 19, 2006
#21 Oskar W. Profos
Whatever the size of "full frame", i suggest
to consider a camera "full frame" when its lenses, its viewfinder as well as its sensor are all covering the same formate.
3:45 am - Saturday, January 27, 2007
#22 dan onischuk
yawn, your argument on numbers is boring - size matters only to the point of what you creatively do with it - megapixels or frame size. does anyone care about the technical aspects of the camera ? i wish you would all comment more on your overall impressions of the camera and what it brings to professional photograhy...
3:23 pm - Friday, May 9, 2008