In the film era, medium-format photography was considered 35mm’s clumsy cousin, trading a bulkier camera and slower operation for substantial gains in image quality. That calculus has persisted into the digital age, making medium-format digital cameras a nonissue, but the reasons are more complicated now. Back at the turn of the millennium, Canon’s EOS D30 digital SLR was first to swap out the trusty, archetypal CCD—the charge-coupled device that had served to capture images since the first video camcorders—for a CMOS image sensor. (That stands for “complementary metal-oxide semiconductor,” if you care.) Almost all digital cameras with image sensors 35mm-sized or smaller have since followed suit, and for good reason. The gains of CMOS’s very different image-capture technology are considerable.

Medium-format cameras, by contrast, have clung to their clumsy CCDs—until late January, when out came the first medium-format digital back to incorporate a CMOS image sensor, the Phase One IQ250. Hasselblad tried to claim the race with a promissory note for the Hasselblad H5D-50c, which should be available by the time you read this; Ricoh isn’t far behind with its Pentax 645D 2014. (The year is part of the name, at least for now.) The Phase One and Hasselblad reportedly use the same 50-megapixel Sony-built chip; specs on the Pentax were yet to come as of this writing.

That it took so long for CMOS to make its way into medium format seems inexplicable. While CMOS sensors were once inferior to CCDs in their image quality—which made them a nonstarter for quality-driven medium format—this hasn’t been the case for years. CMOS chips are also much less power- hungry than CCDs. They allow images to be captured more quickly and in rapid succession, which in turn produces smooth video. But the game-changing thing about CMOS sensors in medium-format cameras, at least for photographers working outside the studio, is that they are more efficient than CCDs at their main assignment, gathering light. More about this in a minute.

One other benefit, of no small consequence to manufacturers, is that CMOS chips are cheaper to make—if you make them fairly small. There’s the rub. Cutting up a silicon wafer in pieces big enough for medium-format chips is a dicey business. And a few bad pixels can ruin an image sensor that is much larger and thus more expensive to manufacture than a 35mm-sized, or smaller, sensor. You have to throw more of them away. Given that sales of medium-format cameras are orders of magnitude less than those of more compact cameras, the economies of scale that apply to smaller sensors—whether in a cellphone or a digital SLR—simply don’t come into play.

Indeed, while CMOS sensors are cheaper to manufacture, it seems this won’t make an immediate difference in the breathtaking prices of medium-format digital cameras. The new Phase One costs $35,000, nearly 12 times the price of the full-frame Nikon D800, which at 36MP has only a third fewer pixels. That doesn’t even include the $5,000 or $6,000 for a medium-format camera body. The Hasselblad H5D-50c is almost as pricey. (We can hope that the Pentax will be less expensive given that the current 40MP Pentax 645D now costs a paltry $7,000.) And whether for cost-saving reasons or manufacturing constraints, that price buys you a physically smaller sensor than traditional medium format: The Phase One IQ250’s CMOS chip measures 33×44 millimeters, as opposed to the 40x54mm CCDs of previous Phase Ones. This “sensor crop” causes an effective increase in focal length, just as it does with the APS-sized chips used in 35mm-style DSLRs. In the IQ250’s case, the focal length multiplier is 1.3X.

Forgetting those prices for a moment—and hoping that Moore’s Law drives them down in a hurry—in what ways does a CMOS sensor really benefit medium-format photographers? For one thing, it handles more tasks than a CCD. A CMOS chip converts the analog electrical information that comprises a photograph into digital form (A-to-D) before that data even leaves the chip, while a CCD must send analog information to a separate processor for conversion. And, unlike a CCD, a CMOS image sensor makes initial autofocus calculations onboard. When it does send data elsewhere, a CMOS chip has more pathways along which to dispatch electrons. These abilities allow a CMOS chip to speed up the camera, affording a faster framing rate and nimbler autofocus, much-needed improvements with still-sluggish medium-format digital. (CMOS, along with ever-faster image-processing engines, has endowed smaller cameras with flashy features such as “sweep” panorama and in-camera HDR.) In the Phase One IQ250, the CMOS chip doubles shooting speed, though at 2 frames per second rather than the previous 1 fps or less, photographers probably won’t be shooting sports anytime soon with medium-format digital.

They will, however, be able to capture images in much lower light levels without as much annoying image noise. While current CCD-based medium-format digital cameras give iffy results even at their modest top sensitivity of ISO 800, the new CMOS models promise pleasing image quality at that speed and very acceptable quality at their top ISO of 6400. Photographers will be able to handhold a medium-format camera where none has gone before—capturing unblurred available-light candids that weren’t possible with CCD models. What’s more, CMOS delivers better image quality at longer shutter speeds, so it should open up new possibilities with tripod-mounted photography as well.

If the idea of finally putting CMOS sensors into medium-format digital cameras is to make them a viable alternative to high-resolution DSLRs, we’re not there yet. The first of these models, even if they deliver the expected image quality in lower light, are still likely to be too sluggish for photographers accustomed to 35mm-style DSLRs. Just as significant, they’re simply too expensive for all but the most well-endowed shooters (and those who rent or lease their gear for commercial work). Yet as anyone who has watched digital technology race through the photographic world should know by now, those hurdles may yet be cleared.

NOTEWORTHY SPECS: PHASE ONE IQ250
SENSOR 50MP 44x33mm medium-format CMOS
SENSITIVITY ISO 100–6400
LCD 3.2-inch 1.15 million-dot touchscreen
BACK MOUNTS Phase One 645DF+ and Mamiya 645DF+; Hasselblad H1 and H2; Hasselblad 555ELD, 553ELX, 503CW, and 501CM; Contax 645AF; Mamiya RZ67 Pro IID and RB67 (with an adaptor)
BUY IT $35,000, back only; phaseone.com

NOTEWORTHY SPECS:HASSELBLAD H5D-50C
SENSOR 50MP 44x33mm medium-format CMOS
SENSITIVITY ISO 100–6400
LCD 3-inch 460,320-dot TFT
SHUTTER SPEED 1/800 sec to 12 min
VIEWFINDER OPTIONS HVD 90x (90-degree eye-level with 3.1X magnification); HV 90x (90-degree eye-level with 2.7X magnification); HVM (waist-level with 3.2X magnification)
BUY IT $27,500, back only; hasselbladusa.com

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Back in 2013, photographer Denys Ivanichek put together a Kickstarter in an effort to release the Petzvar 120mm F/3.8 medium format portrait lens. With the success of similar projects like the Lomography Petzval lenses, it doesn’t come as much of a surprise that it was a total success. Now, Ivanichek is back on Kickstarter in an effort to create a new version of the Petzvar 120mm F/4 specifically for Hasselblad 200 and 500 series shooters.

One of the big differences between the two lenses is the inclusion of a leaf shutter, which makes this lens optimized for use with 500 series bodies. It will still work with 200 and 2,000 series bodies as well, though, thanks to the V-mount.

The lens uses a classic Petzval arrangement for the elements, which produces some very specific and often very desirable effects, the most pronounced of which is a distinct swirly bokeh. From the looks of the prototype it’s actually a rather beautiful looking lens, in both its build and its somewhat quirky optical performance.

As part of the Kickstarter, Ivanichek is making some of the older F/3.8 models of the lens available in small quantities for various mounts like the Pentacon 6 and Mamiya in addition to Hasselblad. They start between $450 and $500.

The new F/4 version with the leaf shutter takes more work and parts, so those start at $700 (the $650 early bird offers are all gone).

It’s a pretty specific piece to add to a kit, but it’s one that addresses a very popular trend in lifestyle and wedding photography at the moment.

See the Kickstarter here.

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Creating zoom lenses for medium format cameras can be tricky because it’s easy for them to get out of hand in both size and price. Now, Phase One has announced two new Schneider Kreuznach zoom lenses for its medium format camera systems as part of the Blue Ring series. The new options include a 40-80mm LS f/4-5.6 Zoom lens and a 75-150m LS f/4-5.6 Zoom.

The lenses have built-in electronics, so they can me micro-adjusted to math a Phase One camera’s AF system perfectly. Each lens provides full coverage over the 645 medium format film plane, which makes it compatible with film cameras as well as the bigger 100-megapixel MF sensors found in modern digital medium format cameras. If you do use it with a 50-megapixel sensor, the whole imaging circle sits in the middle of the image circle, which is typically considered the sweet spot.

The lenses themselves look rather fantastic and are made with aerial-grade mechanical pieces. The zooms also have locking mechanisms to keep them from creeping through to focal range. They’re also capable of flash sync speeds up to 1/1600 sec, which is typically very useful for a studio camera.

Of course, medium format gear comes with medium format prices, so the 75-150mm LS f/4-5.5 Zoom checks in at $5,990, while the 40-80mm LS f/4-5.6 Zoom costs $8,990. They will both be available August 1st.

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This morning Phase One announced three new digital backs that it is calling the Infinity Platform. The new line includes the IQ4 I50MP, the IQ4 100MP Trichromatic (to create color photos), and the IQ4 150MP Achromatic (for black and white photography). The two 150MP models utilize a Sony-designed BSI-CMOS sensor—the very first time a sensor this large has been found in a full-frame medium-format camera.

All three of the new camera backs come with Capture One’s RAW imaging processor built-in—according to the company image editing and processing once only possible when using the Capture One software can not be controlled within IQ4. That built-in image processing also increases the efficiency of workflow with JPEG processing, improved live view and previews, faster frame rate, and IIQ Style integration.

The two 150MP models utilize a Sony-designed BSI-CMOS sensor—the very first to be found in a full frame medium format camera.

Tethering options get a boost as well. The Infinity Platform cameras can transmit images in real-time to a computer via a wireless connection, USB-C or Ethernet. Tethering is common in studio situations so various people on a photoshoot can preview large versions of the images in nearly real time without having to crowd around the camera’s screen.

The three cameras will be available this October, and, unsurprisingly, each comes with a hefty price tag. The XF IQ4 150MP Camera System will cost $51,990 USD, the XF IQ4 100MP Trichromatic Camera System will be $47,990 USD and the XF IQ4 150MP Achromatic Camera System will run $54,990 USD.

While some high-end shooters will buy them, this is the kind of camera photographers will typically rent for jobs that require this kind of specifically monstrous resolution like large-scale advertising campaigns, magazine covers or fashion editorials.

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Every two years, the photography world packs up their lenses and heads to Cologne, Germany for the biggest camera trade show in the world. The show is changing formats next year and will likely be a smaller affair, but the 2018 show seems determined to go out with a whole heap of big news. Here’s a running list of the biggest announcements that we’ll keep updated as new stuff shows up on the show floor.

Fujifilm GFX 50R

Two years ago at Photokina, Fujifilm introduced the first version of its medium format mirrorless camera system, the GFX. Now, the company has added a rangefinder-style body to its bigger-than-full-frame line.

The GFX 50R looks like a bigger sibling to the excellent, APS-C-equipped X-Pro2. The $4,500 50R has the same 51.4-megapixel resolution as its SLR-style sibling, but it lacks the display on top of the camera for keeping track of settings.

The GFX 50R is set to launch in November and it will work with any GFX series lenses. And while the $4,500 price isn’t exactly cheap, consider that the other medium format digital rangefinder on the market at the moment is the Hasselblad X1D-50C, which gives you the same resolution, but costs $2,000 more.

Fujifilm 100-megapixel prototype camera

Here's what we know about Fujifilm's 100MP GFX, arriving sometime in 2019 https://t.co/gA9CkQ3FbH// pic.twitter.com/4UUQ17HF30

— DPReview (@dpreview) September 25, 2018

If the 50-megapixel medium format cameras aren’t quite burly enough for your needs, then give it a year and wait for Fujifilm’s upcoming 100-megapixel mirrorless camera. According to the company, the planned camera will cost around $10,000 (which is what it first said about the original GFX) and include in-body image stabilization, which is helpful when you’re dealing with this sheer number of pixels.

Of course, there are already 100-megapixel systems out there if you’re in dire need of all those pixels right away. Hasselblad and Phase One both make digital backs that fit the bill. The Fujifilm system, however, will be considerably cheaper and even shoot 4K video if that’s something you want to do with your studio camera.

Sigma has five new lenses including an insane zoom.

Here’s a rundown of all the new Sigma stuff:

• The Sigma 28mm F1.4 DG HSM Art is a fast, wide-angle lens with a field of view made popular by the current wave of roughly equivalent smartphone camera lenses.

• The Sigma 28mm F1.4 DG HSM Art is designed to meet rigorous cinema lens standards and specifically cut down on image distortions like axial aberrations.

• The Sigma 56mm F1.4 DC DN Contemporary is smaller sensor cameras like Micro Four Thirds and Sony APS-C E-mount cameras. It works out to a short telephoto portrait lens on those crop sensor bodies.

• The Sigma 70-200mm F2.8 DG OS HSM Sports is the latest version of a classic telephoto zoom that’s a staple in most pro shooters’ bags.

• The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is a 10x zoom lens that can shoot just about anything if you’re willing to put up with its relative heft—there are 25 elements inside!

Panasonic S1 and S1 R full-frame mirrorless cameras

Nikon and Canon recently jumped into the full-frame mirrorless game, and now Panasonic is doing the same. Panasonic has been using the Micro Four-Thirds sensor size until now, so this is a big jump in size. Both cameras shoot 4K video at 60 fps, which isn’t much of a surprise since motion capture has always been a strong suit for Panasonic cameras.

The S1 has a 24-megapixel sensor, while the S1R pumps the pixel count all the way up to 47-megapixels. It’s a big move for Panasonic and it’s making the mirrorless camera space as exciting as it has ever been.

Leica, Panasonic, and Sigma made the full-frame L mount

To go with its new full-frame cameras, Panasonic also introduced the L-mount for the new, larger lenses. Leica and Sigma are both on board with the mount as well, which means their future full-frame and APS-C mount lenses will work across cameras from those brands. It’s not exactly the earth-shattering Nikon and Canon bridge we’ve all fantasized about, but it’s a step toward standardization, which is nice to see.

Kodak Ektachrome is officially back

We first heard the Kodak was bringing back its iconic slide film at CES 2017, but now Ektachrome in 35mm is finally officially on-sale. Initial pre-sales seem to have the price floating around $11 for a roll of 36 exposures, which is cheaper than some rumors initially speculated.

Here’s a look inside the Kodak factory during the process of reviving the film, which was originally discontinued back in 2012.

Hasselblad has three new X1D lenses

Here’s a rundown of the new Hasselblad medium format glass

The XCD 1,9/80 is an 80mm lens with the fastest aperture in the X1D lineup. It works like a 63mm body on a full-frame lens, which makes it a slightly awkward focal length if you’re used to the standard 50mm and 85mm options.

The XCD 2,8/65 is a standard lens that acts like a full-frame 50mm lens which is great for walking around or loose portraits.

The XCD 2,8/135 is a short telephoto portrait lens that’s compatible with a 1.7x tele-extender in case you need more reach for things like sports or wildlife photography.

Leica S3 medium format DSLR

If you’re looking to splash around lots of cash on a medium format DSLR, then the new Leica S3 will likely be just the thing when it shows up on store shelves in a few months. The S3 has a 64-megapixel sensor and shoots 4K video. There’s not a ton of info at the moment beyond that, but the S2, which debuted at Photokina 2008, demanded a retail price of $20,000 before you even got a lens.

Ricoh GRIII

Pocket-friendly, fixed-lens film cameras like the original Ricoh GR have been as hot as can be for the past two years or so. The digital GR cameras have always been solid in terms of image quality and lens sharpness, but they lack in other features. The new GR III however promises to modernize a camera that still lives inside a classic skin.

When the GRIII arrives in stores next year, it will pack a 24-megapixel sensor (up from 16 in the previous model) and shoot 1080p video at 60 fps. Hopefully the camera feels more modern when it comes to things like menus, but keeps the old-school feel that made street photographers love it in the first place.

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We first heard about the Fujifilm GFX100 100-megapixel mirrorless camera last fall during Photokina when it was still in prototype form, and saw it a few weeks later under glass during Photo Plus. It’s fair to say that since then we’ve been anticipating when this beast of a camera will finally hit the market. Today, Fujifilm announced that the $10,000 mirrorless camera will be available at the end of June.

Here is what else we know about it:

• 102 megapixel, 55mm large format back-illuminated CMOS sensor
• X-Processor 4 engine
• 3.76 on-board phase detection hybrid auto-focus that offers nearly 100% sensor coverage
• 4K, 30 p video recording
• Native ISO of 100
• In camera 5-axis image stabilization that Fujifilm says offers 5.5 stop image stabilization
• Suspended shutter unit to minimize shutter shock
• Fujifilm film simulations
• Magnesium Alloy body with an integrated vertical grip
• Dust-resistant and weather-resistant, with 95 weather sealed points

Related: Fujifilm’s X-T30 provides many of the high-end features found in the X-T3 at a fraction of the price

The GFX100 will rightfully become the flagship model of the GFX mirrorless cameras when it is released next month. And while the price tag pushes it out of reach for the consumer and enthusiast markets, it’s considerably cheaper when compared to the cost of other 100-megapixel systems out there like Hasselblad and Phase One. Plus, Fujifilm’s new system has in-body five axis camera stabilization, and can shoot 4K video, which makes it handle more like a much smaller and more agile camera.

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This morning Hasselblad announced the release of the XID II-50c, the second generation of 2016’s XID-50c. The new 50 megapixel medium format mirrorless camera maintains the same design as the original and is built around the same 44 x 33mm CMOS sensor, but features a faster response time, a larger LCD display, and a higher-resolution electronic viewfinder. According to Hasselblad the camera’s start-up time has dropped 46 percent as compared to the original.

Here is what else we know about it:

• Redesigned rear display that is 43 percent larger at 3.6 inches with 156 percent more pixels, the largest LCD available on a medium format mirrorless camera
• Higher resolution 3.69 million dot EVF with 55 percent more pixels
• EVF now offers magnification of 0.87x
• Reduced shutter lag and blackout time
• Frame rate in Live View increases to 60fps from 37fps
• Continuous shooting rate of 2.7 fps
• Improved autofocus
• Redesigned menu system
• New touch-to-select focus points on rear screen
• Battery can charge in-camera via USB
• Internal GPS module
• Full resolution (50MP) JPEGs
• JPEG-only capture now available
• Available July 2019 for $5750 (body only)

The physical design and feel of the camera has remained largely the same—the biggest design change is that the a new graphite gray color, the biggest overhauls are coming to the tech on the inside. One of our only gripes about shooting the original X1D-50c was the startup lag we experienced while shooting. We don’t expect the XID II-50c to handle like a DSLR, but we look forward to seeing how the increased startup time and the decrease of shutter lag perform.

Although the XID II-50c may be the biggest news of the day, there are plenty of other new products on the way too.

Hasselblad announced the new post production program Phocus Mobile 2. The new camera can connect to the program via USB-C or Wi-Fi and transfer RAW or full quality JPEGs for editing on an iPad Pro or an iPad Air.

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In addition to the XID II-50c, Hasselblad announced the ninth lens in its X System and the first zoom. The XCD 3.5-4.5/35-75mm is a compact zoom—a relative term in the world of chunky medium format cameras—that claims to offer the same edge-to-edge sharpness as the prime lenses in the line. It features internal focusing elements which keeps its dimensions constant and keeps it relatively lightweight. The lens will be available in October 2019 for $5175.

Finally, Hasselblad will also release a new CFV II 50C digital back and a brand new 907X camera body. The 907X will be the most compact medium format body to date and gives shooters access to the X-System Lenses. The new digital back will have a familiar 50-megapixel CMOS sensor and couple with most V System cameras made since 1957 and even some third party view cameras. The new digital back will have a tilting screen with full touch support and the same fully-integrated battery used on the X system—meaning a reduced size and the ability to charge via USB-C. Pricing and availability on these products are coming soon.

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This morning Fujifilm announced two brand new lenses, one for its GFX medium format camera and a second for its line of X-series APS-C cameras.

The new GF 50mm F3.5 R LM WR is the smallest and lightest lens available for the GFX medium format system. It only weighs 11.8oz, and has dimensions that are 3.31in x 1.89in—making it a great compact option for shooting in the streets.

Here is what else we know about it:

• Max aperture of f/3.5
• 9 elements in 6 groups, including one aspherical element to minimize aberration and barrel distortion
• 9 rounded aperture blades
• Weather-sealed construction
• Capable of operating in temperatures down to 14°F
• Available September 2019 for $1000

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Fujifilm also announces its new XF 16-80mm F4 R OIS WR for its line of X series mirrorless cameras. The weather-resistant, versatile lens has a constant max aperture of F4 and at 15.5oz is about 40 percent lighter than a 35mm equivalent and gives a field of view equal to a 24-120mm lens.

Here is what else we know about it:

• 16 elements in 12 groups, including 3 aspherical elements and 1 ED aspherical element
• 9 rounded aperture blades
• Weather sealed in 10 places along the lens barrel
• Capable of operating in temperatures down to 14°F
• Features 6.0 stops of Optical Image Stabilization, which automatically detects when the camera is mounted to a tripod
• Available September 2019 for $800

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Taking a decent photo with a modern digital camera is relatively easy. The built-in light meters that determine exposure are smarter than they ever have been, and autofocus lenses snap into sharp focus quickly and silently. Smartphones are the pinnacle of this concept. The Google Pixel 3 with its Night Sight mode, for instance, can automatically create an image that would be genuinely challenging with a DSLR.

So, when I handed the $50,000+ PhaseOne IQ4 150MP medium-format camera to a friend and budding photo enthusiast during my testing, he was surprised by how many bad photos he took. He wondered why the lens made so much noise when it focused and where all the autofocus points were. He was curious why the images look a bit flat with no processing. They were all valid questions if you approach cameras within the frame of using consumer-grade, or even some professional, gear. But, the IQ4 is much more a tool than it is a “it just works” gadget. And by that I mean: you have to learn to use it.

What is a medium format digital camera anyway?

The term “medium format” simply refers to the size of the image sensor inside the camera. A sensor that’s the size of a single piece of 35mm film is considered “full-frame” and it’s what most high-end consumer and pro-grade DSLRs use. Medium format sensors, despite how it sounds, are actually larger than a full-frame sensor, which means there’s more room for larger or more numerous pixels.

A typical DSLR or mirrorless camera comes in two distinct pieces: a body and a lens. The body contains the sensor that actually captures the images, as well as the viewfinder so you can compose your shots, a screen for navigating menus and reviewing images, and the buttons you need to actually make the whole thing work.

High-end medium-format cameras work similarly, only the pieces are more modular. The sensor is larger than a single frame of 35mm film and lives inside of a digital “back,” which is a module that pops on and off of the body that holds everything together. So, when you want to upgrade, you can buy a new lens or a new back and they will typically work with the body you already have. It’s a system that has been in place since the film days. Photographers would attach a Polaroid film back to the camera to take a test shot and check framing and exposure. Then they could start shooting on rolls of negative or slide film.

In the film era, the larger negative meant a higher resolution image when you scanned or printed it. You could enlarge the photo more before you’d start to see the grain encroaching on fine details.

What’s the deal with the IQ4?

In 2014, medium format cameras started using a different type of imaging sensor. They switched from CCD sensors, to CMOS, which had become a lot more common. You could get higher-image quality out of the CCDs, but they had drawbacks. You couldn’t get a high-res live feed off of the sensor, for instance, so you couldn’t really compose a shot on the screen or on a remote monitor. CCDs also suffered from a lot of ugly digital noise when you amped up the ISO setting (the camera’s perceived sensitivity to light). The cameras were meant for the studio where they could sit on a tripod and crank out maximum detail under nice lighting conditions.

Once CMOS sensors came on the scene, however, the early models landed on a resolution of 50-megapixels. It was a lot for the time when the 36-megapixel Sony A7R seemed high-res and the 50-megapixel Canon 5DS was still a year away. Earlier this year, Fujifilm introduced its GFX 100 camera, which, as the name suggests, has a 100-megapixel resolution.

The IQ4 goes another 50 percent beyond that for a total of 150 megapixels, which means every image has a resolution somewhere in the 14,200 x 10,600 range. To put that in perspective, an 8K resolution screen—of which there are only a few commercially available at the moment—has a resolution of 7680 × 4320. Even an exported JPEG at that resolution—which is inherently compressed so web browsers and other programs can read it—will check in at more than 60 MB.

What is it like to shoot with?

Move up to a pro-level DSLR like those from Canon and Nikon and you’re inundated with buttons. Once you know what they all do and spend hours learning the layout, they feel like second nature, but the physical interface is imposing. The IQ4 150, however, is the opposite. There are four generic, rectangular buttons flanking the screen. Two control wheels give you access to common functions like adjusting aperture and shutter speed. There’s a power button and, well, not much else.

The menus aren’t as complicated as a pro DSLR’s either. You don’t have to swipe through dozens of pages to find functions. There aren’t really any automated modes to give you training wheels for capturing images. It’s not confusing, but it expects you to know what you’re looking at. It’s a race car—it expects you to know how to drive it.

Once you’re shooting, the experience is similarly foreign if you’re used to cameras with a lot of whizzbang features. The camera focuses using the center of its frame—you can’t choose from a huge array of focusing points typical to consumer cams. You put your subject in the middle of the frame, press the shutter halfway to lock the focus, then move the frame around to get your exact crop. Interestingly, Phase One uses AI and internal motion sensors in the camera to make sure that you don’t move or tilt the camera enough to throw your subject out of focus. It automatically adjusts if you’re in autofocus mode, which is a nice touch.

The camera is loud. The lens’s motor is audible when it moves and if you’re using the optical viewfinder, there’s a very satisfying ka-chonk sound from the mirror in the body moving up and down. If you want to shoot silently, you can lock up the mirror, use the live feed from the screen to compose your shot and focus manually, though, that’s not easy to do on the move.

For what it’s worth, it feels like shooting with a pro-grade film camera. It doesn’t hinder your shooting, but it also doesn’t hold your hand along the way.

There are also specific features built-in that really only apply to high-end pro shooters. For instance, it can sense even slight shakes from something like a subway passing nearby. Even if it’s on a tripod, that little bit of shaking can cause a slightly blurry image. The camera can delay the shot until after the shaking stops. While you and I likely don’t need that for everyday photo taking, it can be a big issue for still-life photographers who want every last bit of detail they can squeeze out of a picture.

What about the image quality?

The files that come out of the IQ4 150 are marvelous in the literal sense of the word. The Schneider Kreuznach lenses resolve absurd levels of detail and, when I first zoomed into 100 percent view on a studio portrait, I laughed out loud at how close I could get to my subject’s eyes. It’s beyond counting eyelashes and into “ew gross, is that what tear ducts look like?” territory.

When my enthusiast friend looked at some of the images he had taken, he was disappointed. He was trying to shoot a photo of an always-moving bee on some flowers. A lot of them were blurry. Seeing those full-resolution images fully render blurry is particularly frustrating. With a camera this expensive and advanced, how could anyone take a bad photo?

Ultimately, this isn’t the kind of camera an enthusiast is going to go out and buy. In fact, even many pros will typically rent it for when they need a ton of resolution that will let them make super-huge prints meant for up-close viewing or just giving themselves a lot of room to crop without losing quality.

This is one of those instances in which a piece of gear really and truly is “pro” gear and it acts as such. While it’s more forgiving than older models when it comes to adjusting exposure after the fact, it wants you to tell it what to do and understand how it will react.

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