Phase One has announced IQ3 100MP Achromatic, their new achromatic medium format digital back. It’s produced without Bayer color filter, which means it captures no color information. It produces monochromatic images in high resolution and details, without the distraction of colors. It provides 101 MP resolution and ISO range from 200 to 51,200, which makes it the most light-sensitive camera of its kind. It’s
Recently, Charbax at ArmDevices visited the Sony stand at CeBIT when he noticed a couple of large sensors on display. Also on the wall behind them he spotted Sony’s medium format sensor roadmap. This roadmap shows two very promising sensors on the way for 2018.
The first is the IMX461, a 100MP upgrade to the current 50MP IMX161 sensor which resides inside the Hasselblad X1D-50c and Fuji GFX 50S cameras. It would have the same physical size with double the resolution. This could hint at a pretty substantial upgrade in the next X1D and GFX models from Hasselblad and Fuji, respectively. The second is a new 150MP sensor to replace the IMX 211, as used inside the Phase One XF 100MP.
This year marks the point at which I have been using Hasselblad cameras for over a decade. My first was a 201F in 2007, before moving to a 203FE in 2011 and adding a 202FA in 2015. They’re the classic 6×6 V series models, although have some additions on the more familiar 500 series that I will get into later. Over the years I’ve put several hundred rolls of film through the various cameras, not a great deal but enough to appreciate the idiosyncrasies inherent in shooting with medium format.
Adobe Lightroom has always faced some stiff competition against Phase One’s Capture One for medium format shooters. Even many photographers using DSLRs have made the switch. If you were hoping to use Capture One with the new Fujifilm GFX, though, you may be out of luck.
Imaging Resource seems to think that Phase One are feeling a little threatened by Fuji’s new mirrorless. But I don’t necessarily think that’s true. At least, no more threatened than they’ve felt about other medium format cameras in the past. According to Phase One support, support is unlikely to come as they don’t want to support “direct competitors of our core business”.
Fuji’s GFX 50S medium format camera got a lot of attention when it was announced at Photokina in September. But, it was also still shrouded in quite a lot of mystery. They wouldn’t let us have a look at it outside of its glass cabinet, and certainly not test it out. Even the official GFX page on the FUji website doesn’t really have a whole lot of information now.
We know it’s medium format, mirrorless, has a 43.8 x 32.9mm 51.4MP sensor and will have an array of impressive looking lenses available. We also know that there’s a vertical grip available for it, for those that shoot portrait orientation often. Fuji have been teasing us with some videos, though. The first two appeared in September during the GFX announcement, but several more we released just a few days ago.
The megapixel race seems to have shifted from photography towards video the last couple of years. As stills camera resolutions are approaching levels that very few will ever actually need, video is the next logical step. 4K has already usurped 1080p for most new cameras coming out today, and 4K TV sales are seemingly on the rise. So, where next?
CMOSIS, the company that supplied sensors for the Leica M Typ 420, have announced a new VMC50000 48MP CMOS full frame image sensor. It supports shooting 8K at 30 frames per second, with a 4K pixel binning 60fps option. The press release did initially say that it was a medium format sensor, but the specs list says it’s full frame 35mm, and the press release has been updated to reflect this.
Shooting film is often seen as more of a novelty these days. Once, it was just the way photography was done. For those who started off in the digital world, the idea of shooting film can feel quite alien. Understanding the different formats and the effect they can have on the image can be difficult concepts for beginners to wrap their head around. And when it comes to developing their own film, that’s just too much for some folks to handle.
In this series of videos from Stefan Litster, we’re taken through the basic process of understanding different cameras & formats, as well as how to develop our own film. The series started about three years ago, with sporadic updates, but was recently revived on Reddit, and it appears that Stefan has started posting to YouTube again in the last few months.
Ferrania was restarted as FILM Ferrania in 2012 by Nicola Baldini and Marco Pagni. The pair took to Kickstarter in September 2014 to seek funding to resurrect the recently closed Ferrania film factories after 3M’s departure. Their goal was simple. To keep producing the popular 35mm and 120 format films Ferrania was famous for.
But a number of factors caused some pretty big delays. Issues with suppliers, harsh weather, and the discovery of asbestos in one of the buildings to name a few. Now, though, FILM Ferrania are now back and say they are close to starting up with E6 slide film production once again. After a successful coating test, and the restoration of a film slitter, it seems they may not be too far away.
Slit scan cameras are quite a unique breed. Rather then exposing a complete frame with every shutter click, they expose a small slit and advance the film while exposing.
You know whats cool about that, you can create very long photos, as long as your subject is moving in a predictable speed. (which will correlate the speed in which you advance the film)
Take this DIY slit-scan medium format camera from Hugo Cardoso. It was built on the remains of an old hand-drill, some plywood and some scraps.
The drill’s motor is used to advance the film, and a box keeps the light away. Quite a simple build. The results, however, are quite unique.
For those that shoot film, developing and dealing with chemicals isn’t usually the biggest hassle. Often it’s scanning the resulting film into the computer. Many lower end scanners simply don’t have the quality. Higher end ones, even flatbeds like the Epson Perfection V850 are out of the range of many film shooters. Drum scanners like this Hasselblad are even more expensive. And that’s their cheaper model.
So, what else can we do to digitise our film shots? Well, in these two videos, we see how we can use a lightbox, copystand and DSLR to bring our film shots into the computer. Such a setup can be had relatively inexpensively if you shop around. Or you could pay an absolute fortune for one if you wish. If you’re going to spend that kind of money, though, I still think I’d go with a scanner.