Rangefinder Magazine
June 2002

First Exposure: Phase One H 20 by Stan Sholik

The compact Phase One H 20 digital back adapts to a large number of cameras, including most Hasselblad models.

Professional digital-capture devices, whether they’re complete cameras or digital backs, are much more application-specific than comparable film equipment. They tend to be optimized for certain types of photography. As with film, there are different types of digital cameras and backs, some that resemble 35mm single-lens reflex bodies, some that are comparable to medium format, and some that are roughly equivalent to large format equipment.

In the 35mm format, there are SLR cameras available for capturing high-resolution images at low frame rates for portraiture, weddings photography and certain types of location work. There are also cameras with lower resolution CCDs that can capture images at much higher frame rates for such applications as sports photography and photojournalism. In contrast, a professional 35mm film camera is much better at capturing both types of shooting situations than either of the 35mm digitals. Medium and large format digital backs are even more specialized. Scanning backs, multiple exposure backs and single frame backs each have their advantages and disadvantages.

Scanning backs are capable of delivering enormous file sizes and images that meet or exceed the quality of large format film, but they’re only good for taking still-life subjects lit with continuous light sources. Three-shot backs are also capable of delivering high-quality, high resolution, images. It is possible to use them with studio flash equipment, but they’re still limited to still-life subjects. Single-shot backs are the most versatile, and the most film-like. They can be used with any type of lighting equipment and with just about any subject matter.

Pearls are a difficult subject to photograph, but the H 20 has no problem capturing the subtleties of their iridescence. Having the image in digital form allows cleanup of the background and retouching of supports to be done immediately.

The compact Phase One H 20 digital back adapts to a large number of cameras, including most Hasselblad models.But until recently, their relatively low resolution has limited their usefulness to specialties like portraiture and catalog photography. One of the things that has slowed the transition to digital for many photographers is that equipment segmentation. Many professional photographers handle a wide variety of assignments that might include portraiture, still-life catalog work and advertising assignments. Most digital equipment that has been available just wasn’t versatile enough to handle such diverse requirements.

So rather than purchasing digital equipment that can handle only a portion of their workflow, they’ve waited, hoping that more versatile equipment would become available. With the release of the Phase One H 20 digital back, their wait may be over. The H 20 (pronounced “H-twenty”, not “H-two-oh) combines high resolution imaging with single-shot capabilities. Incorporating Kodak’s new 4080x4080 CCD chip, the H 20 can generate image files up to 47.7 MB, for 24-bit RGB image captures, to 128 MB for 64-bit CMYK image captures. Even though it supports higher resolution image capture, it is identical in size and shape to the Phase One LightPhase 2Kx3K. It connects to the computer in the same way, with a fast IEEE 1394 (FireWire) interface, which handles not only all file transfer tasks but also provides power.

However, unlike the Kodak Pro Back that incorporates the same CCD, no MicroDrive or other portable storage is available. That means the back has to be tethered to a computer to be operational. That can be a limitation. The back can be mounted on Hasselblad, Mamiya RZ Pro II and a wide variety of 4x5 view cameras via the optional FlexAdaptor. The CCD sensor is approximately 37mm square, so, when mounted on a Hasselblad, the focal length of the lenses are effectively 50 percent greater, e.g., the 50 mm lens becomes a 75 mm. Lighting can be flash, tungsten, daylight, fluorescent or HMI continuous daylight-balanced lights. Equivalent ISO settings are 50 and 100, with the 100 setting recommended. Either Mac or Windows computers can be used with the H 20. For Macs, a G4 with 256 MB of RAM and OS 9.1 is recommended; for Windows the recommendation is a Pentium III system with 256 MB RAM running Windows 98SE/Me/2000. The number of images captured is limited only by the amount of hard drive storage space available on the linked computer.

The 48 MB file size in a single-shot back make the H 20 ideal for high-quality portrait photos.	This enlargement of the model’s eye shows the sharpness and detail rendered by the H 20.

Images are captured in 48-bit color (16 bits per color) with a dynamic range of 12 f-stops. Individual RAW proprietary-format files are stored on the host computer along with much smaller preview files. Processing the captured RAW files by the bundled imaging software results in TIFF files, while the RAW files remain stored as digital “originals.” On a 1 GHz Pentium III with 512MB of RAM, processing time was 1 minute, 35 seconds. Using the H 20 is the closest to the experience of shooting film of any digital capture device that I have used, from SLR to scan back, other than shooting with the LightPhase. Except for the necessity of performing an initial gray balance and the final need to “develop” the RAW image, the workflow is identical to shooting film, so there isn’t that feeling that you are a computer technician rather than a photographer. Even when photographing a live model, the inherent 3-second lapse between captures is less than the time it takes to strike a new pose.

Lightphase software provides every possible control needed for digital photography. Thumbnails of captures are displayed on the right of the screen, a large preview in the center and a panel with tabbed functions to the right. In this view, the “Exposure” function is active showing a histogram of the image. Out-of-gamut shadows are shown with bright cyan highlights in the preview image

With the ability to produce an image virtually free of noise with an exposure time of 30 seconds, burning in computer screens or doing motion effects are possible, just as with film. Multiple flashes to build up exposure are also accomplished while the shutter is held open. Also aiding the photographic experience is Phase One’s excellent LightPhase Image Capture Software, which is identical for both its LightPhase and H 20 products. The interface is extremely well designed and every imaginable option for viewing, analyzing or optimizing is available.

Plus the software is fully ICC compliant. Files can be tagged with either the embedded camera back profile or converted on the fly to any RGB or CMYK color space available on the host computer. Gray balance is achieved by placing a gray card in the set and making an exposure. Once the image is on screen, it can be enlarged to a high magnification, allowing even a single square of a Macbeth chart to be read in a large set. This gray balance can be applied to all subsequent captures automatically. Once the scene is balanced, the monitor becomes the proofing device. While final adjustments are made to the lighting and set, the software can be set up to overwrite each capture with the next so that test images don’t take up space on the hard drive and require time to be deleted later. In this mode, icons are superimposed on the image to warn that the image has not been captured and stored.

At any time during the process, focus can be checked with the Focus Tool. The software can call up the actual high-resolution data of any area of the image that is selected for inspection. Any required unsharp masking or tonal or color corrections can then be applied, for a true representation of the final image file. A histogram of the high-resolution data is available as well as a contrast/color balance curve. Since the image is captured in 16-bit color, corrections can be applied at this point, and the file exported as an 8-bit TIFF. As an alternative, the file can be processed as an uncorrected 16-bit TIFF for correction in Photoshop. Processing the image in the Lightphase software has the advantage of allowing a smaller, optimized 8-bit file to be exported to Photoshop or directly to the client. The RAW file, in either case, remains in its original capture state, without any corrections, modifications or conversions being applied. It is also possible to display any clipping of highlight and shadow information on the main preview image. The user selects the values for clipping and the colors for information exceeding these values to be displayed. This makes it extremely easy to achieve correct exposure. Ease of use seems to have been the guiding principle in the design of the LightPhase Image Capture Software. Low-resolution previews are visible as a digital contact sheet during the photo session. For example, after shooting a number of frames with a live model, clicking on the individual previews calls up larger versions for more detailed examination. When working with art directors, they can quickly compare different variations of still-life shots. Unwanted captures can be moved to a trash folder where they are held until deleted. At the end of the session, the final selections can be batch processed (“developed”) while the set is changed or struck. Testing was done with version 2.6 of the LightPhase Image Capture Software.

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Version 2.7, now shipping, includes a number of improvements and some new features. The image-processing algorithm has been improved to eliminate banding that some users experienced when shooting on softly graduated, neutral backgrounds. An automatic stitching function, replacing the Photoshop action of previous versions, allows two or three capture files to be seamlessly stitched together to create a large panoramic image. Also new is the ability to export image previews in TIFF or JPEG formats on Windows computers and TIFF, JPEG, PICT and BMP formats on Mac systems. The exported files can be used in image databases, web sites, or sent to the client by e-mail for approval. The Mac version contains further enhancements including the ability to use Apple scripting to automate application tasks.

The Portable Solution is available from Phase One for location shooting with the H 20.

Even though the H 20 has to be tethered, it can be used handle assignments on location. Although there is no provision for portable storage, the Phase One provides a location-shooting kit in the form of the Portable Solution. This consists of a battery attached to a repeater and all of the cables necessary to attach to a portable computer. For Mac users an Apple Powerbook is recommended; for Windows, a lightweight, compact Sony Vaio PictureBook is the suggestion. These fit conveniently in a small shoulder or hip bag. They make it possible for users to capture images up to the maximum storage of the portable computers’ hard drives. Battery life is estimated to be approximately six hours. Whether the assignment calls for a catalog still-life image, a people shot, or a high-resolution advertising image, whether it needs to be shot in the studio or on location, the H 20’s image quality and ease of use make it a solid choice. Even as other manufacturers incorporate the Kodak 4Kx4K chip into their products, Phase One’s LightPhase Image Capture Software will be the standard against which their software will be measured.

Stan Sholik is a contributing writer for NewsWatch Feature Service. He is also a commercial photographer with over 25 years of large format studio and location experience.