The fitness and bodybuilding community has a phenomenon that they call the “sleeper build.” It’s a term for someone who doesn’t look particularly strong or jacked until they flex or lift. It comes from the car world, where a “sleeper build” is a normal-looking car with an unexpectedly powerful engine inside. Having spent roughly two weeks with Hasselblad’s X2D 100C medium format digital camera, I can confidently say that it fits the photographic definition of a sleeper build, hiding absurd amounts of imaging power in a slick and relatively unassuming body. The result is a truly wonderful—if challenging—camera. 

What is the Hasselblad X2D 100C?

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As the name suggests, this isn’t the Swedish camera manufacturer’s first foray into a rangefinder-style medium format digital camera. The original X1D 50C debuted back in 2016, with the X1D 50C II following it in 2019. Both relied on 50-megapixel medium format (44mm x 33mm) sensors and produced excellent image quality despite a cadre of performance quirks like relatively sluggish contrast-based autofocus and painfully long startup times that could lead to missed shots. 

The X2D 100C boosts the resolution up to 100 megapixels, adds phase detection autofocus (finally), and introduces a tilting touchscreen display to the back of the camera. As in previous models, the camera lacks a mechanical shutter and instead relies on the leaf shutter mechanism built into each XD-mount lens as well as the purely electronic shutter mode enabled by the sensor itself. 

It’s purely a photographer’s camera—it completely lacks any kind of video capture, so if you’re looking to shoot motion, you’ll have to bust out your iPhone camera to capture the action. Hasselblad built the X2D 100C to create beautiful still images and it truly succeeded.

Hasselblad X2D 100C design

While some medium-format digital cameras like the Fujifilm GFX-series bodies rely on a familiar design with a built-in mechanical shutter, the X2D 100C employs a more old-school solution. Every XD-mount lens has a built-in leaf shutter mechanism that opens and closes every time it takes a photo. Each actuation emits only a tiny “click” sound rather than the “kathunk” that comes from a mechanical shutter. That reduces the possibility of camera shake and allows for super-fast flash syncing. 

The camera has grown slightly in both height and thickness to accommodate the new (and very welcome) sensor-shift image stabilization system. The top of the camera sports two function buttons, as well as a power button, shutter release, and a screen to display current settings. The back of the camera wears four function buttons running down the right side of the screen, as well as AE-L and AF-D buttons along the top edge. As for dials, there’s a front-mounted wheel that rests easily under a pointer finger and another at the top of the rear grip meant for operation with the right thumb. 

It’s a relatively sparse layout, but it feels right for the camera. It doesn’t have the shotgun blast of buttons and controls found on cameras like the Fujifilm GFX cameras or most full-frame mirrorless models. 

Hasselblad X2D 100C handling

While the layout is elegant compared to typically utilitarian medium-format cameras, this is still a relatively large camera. The very substantial front grip and sturdy thumb rest make it easy to hold. But, don’t expect to easily reach the AF and AE buttons if you’re only holding the camera with one hand. 

The new tilting screen adds an extra level of utility, which I really appreciated during my review period. It allows for waist-level shooting while looking down at the camera, similar to what you’d get with an old-school film Hasselblad. The large viewfinder protrudes a bit from the back of the camera, so it does block a small portion of the screen looking straight down at it. It’s annoying, but not deal-breaking. 

That viewfinder bump is worth the space it takes up, however. The 1.0x magnification makes the eye-level finder large and bright. It’s a half-inch display with 5.8 million dots of resolution, which is ample, even for use with manual focus lenses. It’s one of the best-looking viewfinders you’ll find on a mirrorless camera full-stop.

Hasselblad X2D 100C image quality

This is where the Hasselblad X2D 100C really shines. I shot in raw format for the vast majority of my review period because that’s the draw. Each raw file measures 11,656 x 8,742 pixels and offers 16-bit color, which makes them incredibly flexible during the editing process. 

I relied on Adobe Lightroom Classic for my raw editing because it’s PopPhoto’s standard editing program. Plus, Capture One isn’t keen on supporting Hasselblad raw files since it’s made by one of the company’s biggest competitors. 

Combined with the XCD 2,5/55V, each raw file produced incredible levels of detail and extremely accurate colors. Everything from vibrant holiday decorations to delicate skin tones render meticulously and hold up well, even under heavy edits. 

The resolution and overall image quality are enough to spoil detail-hungry photographers, even compared to 45-megapixel full-frame cameras and 50-megapixel medium format models. Image quality is why you’d buy the X2D 100C, and you won’t be disappointed. 

Low-light shooting

Images display perfectly acceptable noise levels (at least to my taste) even when pushed above ISO 6400. That higher-ISO performance is important with a 100-megapixel sensor because even a small amount of camera shake can seriously detract from a 100-megapixel image. All that resolution can amplify imperfections, so I prefer to keep my shutter speeds on the safe (faster) side and deal with a little extra noise. 

The new built-in sensor-shift stabilization system also helps in the fight for sharper images. It won’t have you hand-holding the camera at half-second exposure times. But, it did seem to help my exposures taken right on the border of possible shake. 

Hasselblad X2D 100C performance

While image quality is the most important thing when it comes to a camera like this, it’s not the only factor you have to consider. 

Autofocus performance

Hasselblad equipped the X2D 100C with a new phase detection autofocus system, which is a big step up from the original contrast-based system, which struggled in complex situations and in low light. While this new system is very usable, it lacks some features that have become increasingly common at just about every camera level. The most prominent example is the lack of face and object tracking. You can’t simply press the button and expect the camera to keep track of your portrait subject’s face like you can with most other modern cameras. 

You can also expect something of a learning curve when it comes to selecting the focus area. I would have loved a joystick control on the back of the camera to quickly move the focus point around the frame. Tapping the touch screen can quickly move the focus point to any area in the frame, but I find that very awkward, especially when I’m trying to shoot with the camera held up to my eye. The other option involves rotating the control wheels to move the AF point on one axis at a time. This method works OK, but it takes some getting used to and it still feels slower than simply mashing a joystick controller. 

Electronic shutter mode

If you want to shoot completely silently or you’re adapting older, manual-focus lenses to the X2D 100C, you’ll have to rely entirely on the electronic shutter. Purely electronic shutters (like the one found in Sigma’s quirky fD camera) tend to struggle when capturing motion in a scene, and that’s true for the X2D 100C as well. That 100-megapixel sensor just can’t read out quickly enough to freeze a moving object in place. This may not come into play for many photographers, but if you’re thinking about adapting holder Hasselblad lenses to the X2D 100C, it’s worth knowing about. 

Battery life

With pretty much any new camera—especially mirrorless models—I always recommend at least one extra battery and that remains true for the X2D 100C. Each $99 battery is good for somewhere between 300 and 400 shots, depending on your usage. That’s a big step up from previous models, but also maybe a little shy of what you’d want for a whole day spent shooting. 

Who should buy the Hasselblad X2D 100C?

This $8,199 camera is looking for a very specific set of detail-obsessed, design-conscious photographers with a budget that can accommodate the $3,000+ lenses required to get the most out of this sensor. 

It’s a professional camera, but it needs to fit your shooting style. If I was bringing this to a wedding shoot, for instance, it would be great for the posed portraits, details, and reportage-style getting-ready photos. During the ceremony, reception, and even some of the more motion-dependent portraits, I’d definitely reach for the comfort of face-tracking AF with my full-frame mirrorless camera. 

If money was no object, I’d absolutely own one of these to use as a travel camera. The files look absolutely exceptional and the whole experience scratches the creative itch in a way my medium-format film cameras typically do. And, of course, I’d put a pace of gaff tape over the Hasselblad logo and make it a true photographic sleeper build.

Here are some more sample images

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Hasselblad introduced its X-series medium format mirrorless cameras back in 2016 with the original X1D. It was a quirky camera with an excellent build and outstanding image quality. The Swedish manufacturer refined the concept with the X1D II in 2019, but now the line is ready for full refresh. The X2D, which Hasselblad just announced, cranks the resolution all the way up to 100 megapixels and adds a custom-built image stabilization system to help steady that chunky sensor.

Hasselblad X2D sensor

The $8,200 X2D 100C (which is currently available for pre-order) employs a 100-megapixel, backside-illuminated sensor that measures 43.8mm x 32.9mm. That makes it larger than a full-frame sensor (which typically measures 36mm x 24mm) and exactly the same size as the chip inside Fujifilm’s GFX cameras. This is typically what we call “medium format” in the digital world, even though it’s technically smaller than any medium format film frame. Hasselblad claims the X2D’s sensor offers 15 stops of dynamic range (one more than the X1D II that came before it) with 16-bit color to go along with all those pixels. The body is also surprisingly compact, checking in at just under two pounds. Let’s break it down:

Autofocus

In terms of autofocus, the X2D offers 294 independent phase detection zones, which allow you to select and focus in just about any part of the frame. The original X1D only offered contrast-based AF, which lacks in both speed and accuracy compared to the phase detection system Hasselblad introduced with the X1D II. The X2D should be even faster and more accurate than its predecessor. It still won’t compete with beastly, action-oriented cameras like the Nikon Z9 and Sony A1, but it should be plenty fast and accurate for most common shooting scenarios.

Hasselblad built a brand-new image stabilization system into the X2D in order to try and squeeze every last bit of image quality out of it. More pixels can translate into more detail, but they also make image shake more noticeable. The company claims the IS system can provide 5-axis image stabilization for up to seven stops of total shake reduction. That’s crucial for a relatively compact (at least for a medium format model) camera that’s meant for hand-holding.

Screens & other features

As for displays, the X2D comes toting a 0.5-inch electronic viewfinder with 5.76 million dots of resolution. It has an excellent 1x magnification, so the images will appear big and easy to see. The refresh rate tops out at 60 fps, which is standard—though it would have been nice to have 120Hz as an option like in some very high-end mirrorless cameras. The display on the back of the camera 3.6-inch, 2.3-megapixel touchscreen that tilts for shooting at odd angles. You can even make it lay flat so you can look down at the camera as if you’re using an old-school Hasselblad with a waist-level finder.

Battery life

The battery is only rated for around 420 shots, but they are compatible with Fast Charging technology, which means they can pick up quite a bit of charge in a hurry if you’re in a jam. Still, best to have several batteries on hand whenever you’re shooting with a mirrorless camera—or any camera for that matter.

Price & availability

The Hasselblad X2D is slated to hit the market at the end of September 2022. It will cost $8,200 retail for the body alone and you can pre-order it right now. That’s a considerable jump up from the $5,750 price tag attached to the 50-megapixel Hasselblad X1D II. You are getting a lot more pixels and built-in stabilization to justify that cost. It’s also considerably more than the $5,999 Fujifilm GFX 100S, which also has in-body stabilization. I’ve had limited shooting experience with the Fujifilm, so I’m looking forward to trying the Hasselblad to find out how it compares.

New Hasselblad X-series lenses

In addition to the new camera body, Hasselblad also introduced three new lenses for the X-series cameras. They will work with any X-series camera, including the weird-but-wonderful 907x 50C. Here’s a rundown of the new glass.

XCD 38mm f/2.5

The widest new lens also represents one of the widest options in the X-mount system. It’s obviously longer than the 21mm ultra-wide, but its in the same ballpark as the 30mm f/3.5 and it’s considerably faster. It acts like a roughly 30mm lens on a full-frame body. It costs $3,699 and is currently available for pre-order.

XCD V 55mm f/2.5

This short standard lens acts like a 43mm lens on a full-frame camera. It’s considerably faster than the 45mm lenses in the line and a little faster than the 65mm f/2.8. The 55mm f/2.5 costs $3,699 and is also available for pre-order right now.

XCD 90mm f/2.5

Even on a medium format body, this lens acts like a short telephoto lens meant for portraits and other similar shooting scenarios. It acts like a 71mm lens on a full-frame body. This will likely be very popular with portrait shooters, even with its hefty $4,299 price tag.

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Sorry Fujifilm film shooters, more bad news: Hot on the heels of a hefty price hike announcement, the brand has revealed an impending Medium Format slide film shortage caused by supply chain constraints. Color-reversal film enthusiasts will have to hang tight, stock up, and practice patience as the brand’s 120 format film is projected to be in short supply for the foreseeable future.

Affected films

Rest easy, 35mm shooters, for now, the announcement only affects 120 format (Medium Format) slide films. These include Fujichrome Velvia 50, Fujichrome Velvia 100, and Fujichrome Provia 100F. 

“It is difficult to supply sufficient products due to insufficient procurement of raw materials, and the supply and demand is expected to be tight for the time being,” the company wrote on its website. 

Where to find some before it’s too late

We checked with three major US-based retailers to see if we could still snag rolls of any of the above-mentioned stocks and came up nearly empty-handed. Both B&H and Adorama list the films as back-ordered. That said, Amazon did have a handful of Provia 120 five-packs available from a third-party seller for ~$20 above the current going rate ($85).

On the other hand, our local camera shop—Glazer’s Camera in Seattle, WA—has both Velvia 50 and Provia 100 in stock. So it’s definitely worth looking local first if you’re on the hunt!

The shortage follows on the heels of a dramatic price hike

The announcement comes about a week after the brand acknowledged plans to increase film prices later this month by as much as 60%. Photographic paper, processing chemicals, and other print products and services will also see price increases, some by as much as 94%.

“Fujifilm Imaging Systems Co., Ltd. responded to the recent rise in raw material prices, transportation costs, etc., as well as the decline in demand for photographic-related products,” its website shared. “We have made every effort to absorb costs by improving production efficiency and reducing costs, but since it is difficult to absorb costs only by corporate efforts, we will implement price revisions.”

Can you still shoot film on a budget?

With shortages and skyrocketing prices, some may ask, “is it even worth it to shoot film anymore?” We say yes! In fact, it’s still totally possible to shoot film on a budget, though you may have to settle for more affordable stocks than Provia and Velvia.

In this article, we break down three ways you can save a little money and still indulge your analog appetite. (Spoiler: For the price of a new Nikon Z7 kit, you could shoot, develop, and scan a roll of 35mm per week for 12 years—how about that?)

So hurry and stock up if your film of choice is on the list of impacted products, and remember to #staybrokeshootfilm.

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A vast number of today’s film photographers are not analog newbies, but rather experienced film users who are returning to the medium after years of shooting digital. With all the advances in digital and computational photography, it’s no surprise that many photographers want to get back to a form of photography where skill matters more than the size of your CPU. If you’re thinking of dusting off your old film cameras, here are five key things that have changed.

Lead image by Bernt Sønvisen.

1. A few of your favorite films are gone—but there are new ones

Related: 5 affordable films we love—and why we love them

When you shop for film, you’ll notice that some old favorites like Kodak Plus-X and Fujichrome have been discontinued—but you’ll also see a plethora of new stocks from manufacturers like Cinestill, which modifies motion-picture film for still-camera use, and Lomography, which specializes in funky films. You’ll also find B&W film from Foma (also sold under the Arista brand), a Czech company with a hundred-year history that now sells film in the United States. 

If you’re looking to start with something familiar, you’ll find plenty of familiar emulsions from Kodak, Ilford, and Fujifilm, some of which have been reformulated for easier scanning, like Fujifilm Neopan Acros 100 II. Many of these companies are renewing their commitment to film, bringing back discontinued emulsions, and creating new ones. The bottom line is that today’s film photographers have plenty of choices.

2. Expensive cameras are now cheap… and some cheap cameras are expensive

Related: 10 alternatives to high-priced film cameras

Used-camera prices have been on the rise since bottoming out about 15 years ago, but there are still plenty of bargains to be had—and on some surprisingly good cameras. Ironically, simple and common cameras like the Pentax K1000 and Canon AE-1 often command premium prices, due largely to nostalgia—those were the cameras we used when we were starving students. But the cameras we lusted after and couldn’t afford—high-end rigs like the Nikon N8008s and Minolta Maxxum 9000—now mostly sell for bargain-basement prices.

Even pro-level cameras like the Nikon F4 and Canon EOS-1 are relatively affordable compared to professional digital cameras. Leicas and Hasselblads are still among the most expensive—good to know some things never change—but for the most part, today’s returning film photographers are finding that the cameras that were once unaffordable are now within easy (financial) reach. The one major exception to this is the premium compact camera market, which has completely blown up with inflated prices.

3. The home-developing scene is more robust than ever

Related: Everything you need to develop your own film at home

Most photographers who took a Photo 101 course learned to develop and print their own B&W film. Today, there is a wealth of resources available to do-it-yourself developers, from a plethora of chemistry (including old favorites and new choices) to handy-dandy devices that eliminate the need for a darkroom (for developing, anyway). Even color film development is more accessible, thanks to all-in-one kits that provide all the chemicals you need in a single package—you just need to provide temperature control, which is easy enough to do with an inexpensive sous vide heater— here’s how. 

Printing images still takes space and a more elaborate setup, but many photographers now choose to scan their negatives for easier viewing and sharing. There are several affordable scanners on the market, and many film photographers get great results by scanning their film with a digital camera and macro lens. Should you want to go full-on old-school and print your own but don’t think you have the space, you’re covered: Ilford makes a portable pop-up darkroom.

4. Your old film camera is probably still working

Related: How to change the light seals in an old film camera

Unlike the throw-away electronics we’ve become used to over the past couple of decades, film cameras have proven to be surprisingly durable and reliable—and not just older mechanical models, either; many electronic cameras have held up surprisingly well. Pop in a set of batteries and a roll of film, and you might be surprised to find your old camera works just as well as it did the last time you used it all those years ago.

If your camera isn’t 100%, there are many remedies available. Some cameras need a simple clean-up of their battery contacts to work, and older mechanical cameras may have some gummed-up lubricants that need to be worked loose. Light-seal foam often deteriorates, though not always to the point that it affects photos, and there are DIY replacement kits. And believe it or not, there are still plenty of repair shops that work on film cameras. A simple CLA—cleaning, lube, and adjustment—will often get your camera in working order, usually for $75 to $150.

5. The support community is better than ever.

5 reasons digital photographers should try film

It used to be that if you had a question about film photography, you had to consult a book, your local camera shop, or a college photo professor. Today, we have the Internet—and it has embraced the thriving film community.

Most film and chemical manufacturers now publish their datasheets online, but what if you want information they won’t provide—like how to best develop Ilford Pan F, pulled two stops to ASA 12—The Massive Dev Chart, a community-sourced film development resource, will tell you. There are great film photography podcasts and a thriving online community of analog-related forums, where we’ve been amazed at some of the obscure questions we’ve seen asked—and answered—by online film fans. And, of course, there’s PopPhoto, where we’ll continue to support the film photography community.

The post Going back to film? Here’s what’s changed appeared first on Popular Photography.

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Spooky season is upon, and you know what that means? Blood-filled elevators, satanic children on tricycles, Jack Nicholson axing his way through doors, and, this year at least, a new film stock from CineStill Films appropriately dubbed RedRum 120.

What is it?

RedRum 120 is a limited edition ISO 200 medium format film. The stock is monochromatic and produces images with heavy red and yellow tones. CineStill achieved this look by reverse rolling their 800T emulsion through a red film base and onto the spool. This means images are exposed through the base of the film stock, instead of directly onto the emulsion. The company notes that the 800T emulsion is particularly well-suited for red-scale photography.

What do the images look like?

Judging from the handful of sample images provided, RedRum 120 is capable of producing shots with good sharpness and lots of warm tones. Many of the shots look like they could’ve been pulled straight from a horror movie. That said, we also could see this film stock working really well for capturing fall foliage.

Where can I get it processed?

Despite the peculiar nature and look of the film, it can be processed in C-41—meaning anywhere that handles standard color film development, can process RedRum 120.

Price and availability

RedRum 120 is available for purchase right now on the CineStill Website for $14 a roll. But don’t be a dull boy and miss out! Because the brand notes production of the stock is limited. Though they don’t elaborate on just how limited it is.

It’s worth saying, we’re big fans of new film stocks—check our Kosmo Foto’s recently launched Agent Shadow 400 film—and it’s exciting to see CineStill Films add to their catalog of offerings.

In that regard, we plan on getting our hands on a roll of RedRum 120 ASAP. We’ll share the results and some impressions when we do.

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This week, Fujifilm introduced a new model in its GFX, medium-format line of cameras—the Fujifilm GFX50S II—which has a remarkably low sticker price. A “cheap” medium-format mirrorless digital camera sounds like an oxymoron. But, the new 51.4-megapixel GFX50S II, which will be available in late next month, will cost just $3,999. The company also announced a new lens— GF35-70mmF4.5-5.6 WR lens—which will be sold as a kit with the new GFX50S II for $4,499.

Now, the very large size of medium-format sensors is a good thing–since they’re larger than sensors found in, say, full-frame mirrorless cameras. That helps image quality when it comes to noise and also creates a unique depth of field effect smaller sensors can’t necessarily replicate.

But the bad news is this–such a budget-style, high-end camera will almost always have compromises, as this one does: In essence, the company itself said that this camera is essentially a GFX100S camera body with an older 51-megapixel medium-format sensor (instead of the newer 102MP sensor in the current GFX100S). In tech, “older” rarely if ever means better. 

So, where are the compromises? One drawback is that the autofocus lacks phase-detect AF, and instead, uses contrast AF, which is not as robust and quick at focusing as phase detection. The company notes that they’ve updated various elements within the contrast AF system—such as Far AF tracking and Face/Eye detection—but by and large, many photographers, particularly those who are shooting active subjects, may not find this model a very good value. Of course, if you’re shooting

It also shoots at just 3 frames per second in burst mode, which is another issue for those shooting action. (By contrast, the GFX100 and GFX100S capture 5 fps.) 

Features are similarly limited when it comes to video. The GFX50S II captures video at only Full HD resolution at just 30 fps.

However, on the upside, it does come with in-body image stabilization (IBIS), which the company rates as having up to 6.5 stops of compensation. And you can also shoot at a high-resolution—205MP—using its pixel-shift multi-shot technology. 

The new kit lens, the GF35-70mmF4.5-5.6 WR, is weather-resistant and lightweight and has a 35mm-equivalent focal length range of 28-55mm. 

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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

The post New Medium-Format Digital Cameras appeared first on Popular Photography.

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When it comes to image quality, medium format digital cameras have long dominated their DSLR competition. When it comes to other creature comforts, however, especially autofocus, medium format bodies have typically felt a bit lacking. Phase One is trying to fix that gap with a totally revamped medium format camera system known as the XF.

The system is based around a new IQ3 digital back, which is available in 50, 60, and 80-megapixel flavors. The 80-megapixel version is actually exclusive to Phase One. But, medium format has always been able to pull of big resolution. One key difference here is the new AF system, which they call the Honeybee Autofocus Platform. According to the press material, it’s built on entirely new electronic architecture and has a white spectrum (not infrared) focus assist beam to help it lock focus faster. For shooting action or really anything outside of a studio setting, that could make a significant improvement in shooting experience.

In fact, they claim the camera is faster in general operation. It has a faster processor for churning through individual images and even a Profoto wireless flash trigger system integrated.

Another big upgrade is the OneTouch user interface. The back of the camera is equipped with a 3.2-inch Retina touch screen used to navigate menus. The camera can also be controlled using the customizable dials, or via tethering to a computer or a tablet.

This truly seems like a top-to-bottom refresh for the Phase One system, which could prove more important than ever when DSLRs like the Canon 5DS are trying to creep into super-high-resolution territory.

Of course, with medium format performance comes medium format pricing. The XF IQ3 50 megapixel version starts at $40,990 with an 80mm LS lens. The 60 MP version goes up to $41,990, and the flagship 80-megapixel model checks in at $48,990.

To help take advantage of all those body performance upgrades, there are also two new lenses designed to maximize detail capture, even at super high resolutions up to 100-megapixels. There’s a new 35mm and 120mm option. Of course, you should remember when looking at those focal lengths that the sensor is 2.5-times larger than a medium format lens and that will affect the relative field of view, so in this case, 35mm is pretty wide and 120mm is actually only into long standard or short telephoto territory.

There are still a lot of pros that primarily use medium format and a total system refresh could be a big deal in fighting off the DSLRs invading their territory.

Official Site

The post New Gear: Phase One XF Medium Format Camera System appeared first on Popular Photography.

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CMOS is the big thing when it comes to medium format digital cameras at the moment. Just ask Phase One and Hasselblad. Now, Pentax is updating their popular 645-series medium format digital cameras with the CMOS-toting 645Z. And it checks in at a price well under $10,000.

The heart of the camera is their new 51.4-megapixel CMOS sensor. Because of the move away from CCD, it can now hit a DSLR-like ISO number of 204,800. While high ISOs like that are typically not very useful due to the grain, the large sensor and high resolution mean you’ll have more leeway in terms of noise-reduction that you would with a standard or even full-frame DSLR. The addition of CMOS also means that the 645Z can do video.

Another interesting addition is the 3.2-inch LCD display, which has just over a million dots of resolution and actually rotates, which isn’t something you typically find on a camera at this level. Since it’ll likely spend a lot of time on a tripod, that could come in very handy.

The body is built to be super-tough, using weather sealing at 76 different points, so it will be at home in the studio, but it seems Pentax is keen to get them out in the field as well.

As for lens options, there are 13 to choose from being made available from Pentax:

• SMC-FA 645 75MM F2.8 $839.00
• SMC-FA 645 45MM F2.8 $1,319.00
• SMCP-FA 645 150mm f/2.8(IF) $1,679.00
• SMC PENTAX-FA* 645 300MM F4 ED(IF) $4,799.95
• SMC-FA 645 400MM F5.6 EDIF $3,479.00
• SMC-FA 645 ZOOM 45-85 F4.5 $2,879.00
• SMCP-FA 645 120mm f/4 MACRO $1,679.00
• SMCP-FA 645 200MM f/4 (IF) $1,319.00
• SMCP-FA 645 80-160/4.5 $2,519.00
• SMCP-FA 645 33-55 f/4.5 AL $3,239.00
• SMCP-FA 645 ZOOM 150-300MM F/5.6 ED $3,239.00
• SMCP-FA 645 35mm f/3.5 $1,919.00
• SMCP-FA 645 55-110 f/5.6 $2,039.00

The standard lens checks in under $1,000. And since the body itself will cost $8,500 when it’s released in May, you can get yourself a system for under $10,000. Yes, that’s a lot, but in terms of a full-on, high-res, medium format system, it’s very cheap.

We liked the original 645 and we’re glad to see that Pentax is continuing to support it.

The post New Gear: Pentax 645Z Medium Format Camera With 51.4-Megapixel CMOS Sensor appeared first on Popular Photography.

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Digital medium format cameras are specialized pieces of equipment that usually cost as much as a car. The new Hasselblad H5D Aerial is certainly no exception, and even though very few of us will ever own, or even use it, it sure is a beautiful piece of gear.

The H5D Aerial comes in 40, 50, and 60-megapixel flavors and is built to be smaller than the typical H5D to fit aerial photography mountings. Because aerial mapping and other uses often involve syncing up multiple cameras, the H5D Aerial can coordinate with up to seven other bodies to fire at exactly the same time so the photos can be merged later.

In addition to the camera bodies, Hasselblad offers aerial versions of nine of its lenses, each of which is equipped with a locking mount to minimize vibration and flexing. The focus is actually fixed at infinity.

There’s no official pricing on the Hasselblad site for these beauties, but it’s safe to say that it’s a lot. Sure is nice to look at, though. Of course, you could always get the Phase One version and attach it to a drone.

Official Site

The post The Hasselblad H5D Aerial Camera Looks Like It Belongs on a Stealth Bomber appeared first on Popular Photography.

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