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Posts Tagged ‘Format’

Film Fridays: Plaubel Makina 67 – The beginning and end of a journey into medium format

17 Apr
Photo: 35mmc.com

We’ve got medium format on our minds – check out some 120 samples in our recent Acros 100 II film gallery – and thought we’d continue the theme by featuring a medium format camera review from our friends at 35mmc.com for this week’s Film Friday.

In this review, a dedicated 35mm photographer and medium format skeptic gets his hands on the lust-worthy Plaubel Makina 67 camera and finds lots to love about its design – and the format in general. But it’s not all a bed of roses. Get the full scoop on this cool, collapsible medium format rangefinder from the link below.

Read: Plaubel Makina 67 – The beginning and end of my medium format journey

About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at 35mmc.

Articles: Digital Photography Review (dpreview.com)

 
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Leica S3 Announced, a Medium Format DSLR With 64 MP

13 Mar

The post Leica S3 Announced, a Medium Format DSLR With 64 MP appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

leica s3 announced

Last week, Leica announced the S3, a medium-format DSLR that packs a whopping 64 megapixels and replaces the Leica S2.

This update is a long-time coming – the Leica S2 debuted way back in 2008 – and the new Leica S3 is looking to be a powerhouse of a camera.

But what does this new high-end DSLR include?

First, you get rugged build-quality and weather sealing, all packed into a DSLR-type form factor. If you’re never used a Leica camera before, you’ll be impressed by how sleek the S3 appears; rather than the usual “brick” you get from Canon and Nikon DSLRs, the S3 is a combination of stylish curves and lines.

You also get a Leica Pro Format sensor, sporting 64 megapixels (up from a 37.5-megapixel sensor in the S2). Of course, 64 megapixels is an exciting specification on its own, offering a resolution beyond anything currently available in the 35mm DSLR world. But when combined with Leica’s 30x45mm Pro Format sensor, the S3 is bound to offer sumptuous image quality, even in low light and at high ISOs.

Another bonus:

Leica offers an excellent lens selection. This includes 16 native Leica lenses, as well as a number of adaptable lenses from the likes of Hasselblad and more.

Leica S3 lens selection

And let’s not forget about the Cinema 4K at 24 fps, in case you’re looking to bring that incredible image quality over to the video arena.

The main drawbacks to a medium format camera like the S3 are image size and shooting speed. As expected, the Leica S3 struggles in both of these areas; the 64 MP images produced are going to be huge, and will limit burst shooting to just 3 frames per second.

You also have to contend with a ridiculously high price, one that’s far out of the average photographer’s (and the average professional’s) price range. In this case, it’s just under $ 19,000 USD, and that’s for the body only. If you want a compatible lens, you’ll need to shell out another $ 5000+ USD.

For those who can afford it, the Leica S3 will likely come available in late March.

What do you think of the Leica S3? Do you wish you could use it? Or are you content with the 35mm camera market? Let me know in the comments!

The post Leica S3 Announced, a Medium Format DSLR With 64 MP appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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This 120 medium format camera and 4×5 large format camera are made from 35mm film cassettes

13 Feb

What do you do with all of the extra 35mm film canisters you have after getting your film developed? Well, if you’re photographer Alireza Rostami, you turn the film canisters themselves into cameras.

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For his latest project, Rostami took hundreds of empty 35mm cassettes and taped them together to create the structure needed to make a pair of ‘Unity’ cameras: a 4×5 large format camera and a 120 medium format camera that uses what appears to be a Mamiya RB67 lens and film back. Above is a gallery of the two cameras, both as a final product and in progress during the build. The below gallery shows off a few of the test photos captured with the cameras:

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In an email to DPReview, Rostami says the symbolic idea arose while dwelling on the idea of ‘peace and unity’ after reading through The Diary of a Young Girl, a collection of writings kept by Anne Frank while she was in hiding with her family as the Nazis occupied the Netherlands. Because of this inspiration, Rostami says he dedicated the pair of cameras to the late Anne Frank and George Eastman, a man who’s inspired Rostami through his drive and innovation throughout his career.

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad releases firmware update for its X1D-50c mirrorless medium format camera

04 Feb

Hasselblad has announced a new firmware update for its X1D-50C mirrorless medium format camera. Firmware version 1.24.0 adds a few notable features while also getting rid of a few bugs along the way.

First up, Hasselblad has added support for its new XCD 45P lens. In addition to the new lens support, Hasselblad has also added focus bracketing functionality, in-camera image rating and a new 2/3 step for exposure bracketing.

You can download the firmware and find installation instructions on Hasselblad’s website.

Articles: Digital Photography Review (dpreview.com)

 
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DIY large format camera ‘Bertha’ shoots massive 1.1 x 1.1-meter slides

03 Jan

The Branco Ottico team in Italy has showcased ‘Bertha,’ a giant large format camera that can be used to capture 1.1 x 1.1m (3.6ft) slides. A report about the camera’s creation, as well as some images of the assembly process, were recently shared over at DIY Photography. The team explains that Berta is designed to ‘create unique works’ using the ROBA APPOSTA inversion kit chemical process created by Branco Ottico.

Bertha features a modular aluminum frame, a bellows draft measuring around 4m (13.12ft) in length and a 1000mm F6.3 lens. The camera can be used to capture portraits in macro mode, according to the team, which says they also have a mobile darkroom for capturing portraits outdoors. The team will tune the camera in early 2020, then take it and the mobile darkroom on a tour to capture portraits of people on the road.

Articles: Digital Photography Review (dpreview.com)

 
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Apple loses patent lawsuit, will have to pay RED royalties for ProRes RAW format

13 Nov

Apple has failed in an attempt to over-throw patents held by RED that govern methods for compressing Raw video, leaving the company open to paying royalties on its ProRes RAW file format. Apple had tried to show that the technology RED patented around its RedCode codec was obvious and shouldn’t have been granted protection, but the court rejected the claim leaving RED secure to license the lossless compression technique to camera, software and accessories manufacturers.

It seems that Apple had wanted to avoid paying royalties on the ProRes RAW format it introduced via Final Cut Pro last year, and which is used in some DJI drones, some Atomos recorders and a few other products. The problem is that RED claims ProRes RAW uses technology it owns for compressing those RAW files to make them manageable to work with. RedCode allows Raw video to be captured and compressed in-camera in much the same way that stills cameras do, allowing data directly from the sensor to be recorded and made available for very flexible post-production manipulation.

RED’s technology allows files to be compressed by ratios of up to 22:1, though it says 3:1 is mathematically lossless and 8:1 is visually lossless. The value of this is not only that it allows video files to be reduced in size, but also that for the same size file videographers can record in higher resolutions to provide the means for heavy cropping and frame splitting in post-production.

RED President Jarred Land posted on the RED User forum that he was glad the company’s technology remained protected but that the dispute between RED and Apple was just a means to finding where each stood technology-wise so they could continue to work together. He wrote:

‘We are pleased to see our REDCODE patents withstand another challenge.

To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future.

RED integration with Apple’s METAL framework for realtime R3D playback is coming along well and the work that the two teams are doing together is exceeding expectations. We are very excited for the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow.’

The ‘another challenge’ refers to a similar attempt made by Sony in 2013.

Articles: Digital Photography Review (dpreview.com)

 
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HEIF Files: Do They Mean the End of the JPEG Format?

07 Nov

The post HEIF Files: Do They Mean the End of the JPEG Format? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

HEIF files

During a recent meeting about the recently announced Canon 1D X Mark III with Digital Camera World, Canon product intelligence specialist David Parry dropped a bombshell:

“We’ve moved on to HEIF files,” Parry said.

While Canon later walked back the statement, claiming that they “have no plans to abandon JPEGs,” but instead wish to “give users a new image option” in the Canon 1D X Mark III, the comment got plenty of people talking. And the reason is clear: If Canon is adopting HEIF files alongside its JPEGs, might we soon see the company scrap JPEGs entirely? And what about Nikon, Sony, Fujifilm, and Olympus?

In other words, does Canon’s move to HEIF files signal the end of JPEGs?

For photographers who have been using JPEGs for decades, this might come as a shock. While HEIF files have been in the media for the past couple of years, ever since Apple added them to their iOS devices and Macs, no major camera manufacturer has adopted HEIF files – until now.

And while some users may dismiss HEIF files as another overhyped “JPEG killer” which will disappear in a few years, there is reason to believe that HEIF files are here to stay.

To understand why, let’s take a closer look at HEIF files and what they offer over JPEGs.

HEIF files vs JPEGs

The biggest difference between HEIF files and JPEGs is their respective file sizes:

JPEGs are small, but HEIF files are tiny.

In fact, HEIF files are often billed as half the size of JPEGs, but with the same (or better) quality. This means that you can store far more HEIF files on a device than you can JPEGs, without a loss in quality.

How is this possible?

Simply put, compression has improved. JPEG files debuted way back in the 1990s, whereas HEIF is a relatively new image file format. So when it comes to compression, what a JPEG can do, a HEIF file can do better.

And this results in smaller files with limited quality loss.

Compression isn’t the only area where HEIF files shine. HEIF files can also store more color information than JPEGs, which means that your HEIF photos will look better, and can avoid the unpleasant color-banding effects that sometimes come with JPEGs.

And what about compatibility? Surely JPEGs are far more established than HEIF files, given their universal popularity?

Back in 2017, when Apple adopted HEIF files, this was a real discussion. Some applications couldn’t deal with HEIF files, and that was a problem.

But now, two years later…

HEIF files can be used by pretty much any program you’d need. The compatibility issues are gone, and we’re left with a file format that just seems all-around superior to JPEGs.

So while JPEGs are the file format of the present and the past, HEIF files are likely the format of the future.

Now I’d like to know your thoughts:

Do you think HEIF files will replace JPEGs? And how do you feel about this change? Share your thoughts in the comments below! And respond to our poll regarding whether you’re happy about the shift to HEIF files: 

Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

The post HEIF Files: Do They Mean the End of the JPEG Format? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Photographer turns old computer parts into functional large format ‘Frankenstein’ camera

07 Aug

Iranian photographer Alireza Rostami has introduced the world to his ‘Frankenstein’ camera, a functional product handmade from old and broken computer components. According to Rostami, who recently spoke with DPReview, he purchased his first computer in 1999, a moment he said he’ll ‘never forget.’

Rostami explains that as he upgraded the computer over the years, he saved the older hardware, including the motherboard. ‘One day I thought, I can turn my old computer into a device that works again!’ Rostami said. ‘And I thought, well, why not make a camera?’

Rostami crunched the numbers and developed a design for his large format camera, which features a Linhof large format lens and film back, as well as a low-power battery that powers the camera’s computers fans, adding to the overall aesthetic. Rostami says his computer camera is suitable for landscape photography without adjusting the focus but can be readjusted for other uses by utilizing a universal lens ring and changing the lens.

Below is a video walkthrough of the camera, shared with DPReview by Rostami:

‘Unfortunately, I don’t have access to high-end technology,’ Rostami notes on Instagram, explaining that he’d like to make a different model that functions as both a computer and camera. Despite that, Rostami is pleased with the current version, saying, ‘I find the camera very exciting and beautiful, like something out of science fiction. I have a very unique camera now.’

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Part 3 … video This is my Frankenstein camera . I make it with my broken Camputer . #apple #technology #camera #largeformatcamera #Instagram #newyork #usa #windows #google #yahoo #news #microsoft

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Selfies captured with the Frankenstein camera are available on Rostami’s Instagram account. The photographer has shared a number of other DIY photography projects, including a camera transformed into a watch and a modified lens that produces dreamy, otherworldly images.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak plans coating trials for 120 format Ektachrome E100 film next month

07 Jun

Kodak Alaris has given a boost to those waiting for newly resurrected Ektachrome E100 to be introduced in formats larger than 35mm with an announcement that it will be testing a new coating process at the end of next month to make roll film. The company has said in the past that the process for coating 35mm film and 120 roll and sheet films is different and that the method used to make the initial reintroduced format isn’t the same as that needed for wider formats.

Kodak Alaris said directly then that it was very likely that medium format and sheet film sizes of the color transparency film would be made available, and has since confirmed that 120 and sheet films will be made this year.

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We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July! Photo of Pei Ketron @pketron Photo by @jonblack___ #ektachrome #e100 #kodakprofessional #believeinfilm

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In recent posts on its Kodak Professional social media accounts, Kodak Alaris has said directly that it will be testing coating processes for 120 roll film, saying ‘We know you’re anxiously awaiting the arrival of larger format Ektachrome E100 Films. We are diligently working on bringing them to market, with a wide coating trial of the 120 format film planned for late July.’

The posts are accompanied by a picture of a girl holding a Pentax 67 medium format camera, but which was shot as part of an early trial of the 35mm format version of the film. The side of the picture is marked ‘Ektachrome 100 in 120?’

We shall have to wait and see. The company’s T-Max, Portra and Ektar emulsions are already available in sheet formats, but to special order. For more information on Kodak films see the Kodak website and the Kodak Professional Ektachrome E100 technical data sheet.

Articles: Digital Photography Review (dpreview.com)

 
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CatLABS introduces FILM 80, a new black and white film in 120 format, sheet film to follow

04 May

US film camera equipment store and distributor CatLABs has introduced its own brand of black and white negative film that it claims is unique and not available anywhere else. CatLABs says its FILM 80 is a classic emulsion along the lines of Kodak’s Panatomic-X with a high silver content and very fine grain.

Obviously Panatomic-X was rated at ASA 32 and this new emulsion isn’t quite as slow, but CatLABS says it can be rated anywhere between ISO 50 and 800 with different processing techniques and it will still produce a wide tonal range. It can be processed in a number of different developers but 9.30 minutes is the quoted time for standard work at ISO 80 in stock solutions of Ilford ID11 or Kodak D76. Agfa Rodinal is recommended for down rating to ISO 50.

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The film is available now in 120 rolls, and will soon come out in sheet formats. It will be early 2020 before 135 format can be bought. A roll of 120 costs $ 5.55 or a pack of ten can be had for $ 55. See the CatLABS website for more details.

Manufacturer’s information:

CatLABS X FILM 80 (120) BW Negative Film

CatLABS X FILM 80 is a traditional, slow-speed, fine-grain, high silver content film, designed for a wide array of shooting conditions.

Following in the footsteps of Kodak’s famous ‘Panatomic-X’ (which was used in Polaroid’s equally famous Type 55 film), CatLABS X FILM 80 brings back a classic touch with its unique look.

An ideal “daylight” film, offering versatility and unique characteristics not found in any other currently made film on the market today.

Characterized by its very fine grain, moderate contrast and deep tonal range.
Exhibits a wide exposure latitude under various lighting conditions, and extreme flexibility in processing options.

Rate it at 50 ISO when shooting indoors (under studio lighting) for extreme fine-grain, or push it as high as 800 when shooting in low light conditions.

CatLABS X FILM 80/120 has an IE of 80 ISP.

Articles: Digital Photography Review (dpreview.com)

 
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