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Posts Tagged ‘Largeformat’

Photographer David Burnett with his large-format, wooden camera was the real hero of today’s impeachment hearings

14 Nov

Photographer David Burnett (L), pictured in the press pack at today’s first public session of the ongoing impeachment hearings.

As diplomat William Taylor and State Department official George Kent took their seats in the House today to begin their public testimony, their entry was heralded by a noisy fluttering sound, as attendant photographers shot off hundreds of continuous frames on their Canon and Nikon DSLRs. But one man stood alone, among the fray: David Burnett, veteran, multi award-winning photographer, co-founder of ContactPressImages and large format film enthusiast.

The camera is an ‘Aero Liberator’ – Made by John Minnicks, the Liberator is a custom-made camera, which takes 4 x 5 plates. Judging by today’s footage of David using it, continuous shooting speed is limited to about one frame every five or six seconds.

Articles: Digital Photography Review (dpreview.com)

 
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HP unveils DesignJet Z6 and Z9+: faster, more efficient large-format photo printers

25 May

During the FESPA Global Print Expo in Berlin last week, HP unveiled two new DesignJet Z Series large-format printers: the DesignJet Z6 and Z9+. Both models will be available in 24-inch and 44-inch formats with onboard vertical trimmers, new HP Pixel Control color technology, and a redesigned poster application.

According to HP, the new Z Series printers are able to print 2.5 times faster than the DesignJet Z3200 Photo Printer while utilizing fewer inks, the end result being improved performance and reduced costs. The company claims these new large-format printers offer the “fastest printing capabilities available on the market today.”

The DesignJet Z6 printer is designed specifically for Geographical Information Systems (GIS) users and creators, as well as anyone else in need of water- and fade-resistant large-format prints. The Z9+ model, meanwhile, is targeted at consumers and retailers in need of “amazing photographic quality prints.”

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HP explains that its Pixel Control technology coupled with HP Nozzle Architecture (HDNA) results in true-to-color prints made using nine instead of 12 inks; there’s also support for HP Professional PANTONE Emulation. Other features include dual drop technology, HP Secure Boot and JetAdvantage Security, and HP PrintOS for remote printer management.

HP plans to release the DesignJet Z6, Z6x10, and Z9+ large-format printers on June 1st, with the larger 44-inch models with dual roll and the vertical trimmer not arriving until around July 1st. The company didn’t specify which markets the printers will launch in, or how much they will cost when they do.

Press Release

HP Launches State-of-the-Art Large Format Photo Printers

BERLIN, May 15, 2018 – HP Inc. unveiled its new DesignJet Z Printer series at FESPA Global Print Expo to showcase innovative large format technologies offering amazing image quality and fast, simple output for print service providers (PSPs), retailers, and creatives to deliver beautiful photos, impactful graphics and technical applications.

The market for large photo merchandising grew seven percent in 20171 with nearly 1.3 trillion photos taken in the same year2. The demand for simplicity and unrivaled photo quality is growing, fueling the need for printing solutions that remove bottlenecks and increase time savings.

The new HP DesignJet Z6 and Z9+ Printer series is designed to easily maximize printing performance for amazing photo output. By tightly integrating the materials, hardware, and software together, the new printers offer amazing photo quality and print permanence with fewer inks to simplify manageability and reduce costs. New vertical trimmer is featured on select models to optimize output in addition to other innovative technologies for rapid high-quality production from professional photo quality prints to retailer signage. The result is printing 2.5 times faster3 and post-production 20 percent faster4.

“The new DesignJet Z Printer series radically enhances the customer experience and reinvents printing possibilities for both professional photo and signage to ignite business growth and adapt to future needs,” said Guayente Sanmartin, General Manager and Global Head, HP Large Format Design Printing, HP Inc. “We thoughtfully designed the new printers to deliver impressive photo quality without compromising time resources and output speeds with the new vertical trimmer and innovative color technologies.”

The DesignJet Z Printer series will debut at FESPA 2018 at HP Booth 3.2 C20.

Simple and fast output for high-quality vibrant photos

HP DesignJet Z Printer series, both available in 24- and 44-inch formats, are built to give PSPs a competitive edge by enabling the fastest printing capabilities available on the market today. As an industry first, the HP DesignJet Z6 and Z9+offer a premium option with onboard vertical trimmer for fast and efficient production. New color technology, HP Pixel Control, now for the first time manages colors in a truly digital way to help customers embrace new opportunities for color-rich and dynamic printing.

For print service providers who rely on amazing professional photographic quality prints, the HP DesignJet Z9+ printer allows for a broad range of graphics and technical applications.

The DesignJet Z6 Printer series is designed for Geographical Information Systems (GIS) creators and users, print service providers, and retailers who require a simple to use solution for high-quality technical and graphics applications with water/fade resistance. The new print series is designed to handle even the most complex files with powerful processing architectures and the Adobe PDF Print Engine.

Specific technologies and features include:

  • HP Pixel Control: Achieve true-to-color prints and an expanded color gamut with RGB HP Vivid Photo Inks, featuring chromatic red, chromatic green, and chromatic blue, the i1 embedded spectrophotometer5 and HP Pixel Control. HP Pixel Control is truly digital color pipeline designed for outstanding, consistent image quality delivered by controlling every print-ready pixel. Combining HP HDNA with HP Pixel Control, users get amazing image quality with just nine inks versus 12 compared to the previous generation HP DesignJet. The new printers also offer HP Professional PANTONE Emulation to match Brand identity colors.
  • Dual drop technology: Produce prints with clear details and high-contrast color with dual drop technology powered by HP Nozzle Architecture (HDNA) and high-definition printheads. The HP DesignJet Z9+ features an upgradable configuration for a higher gloss output6.
  • Tools to create: Simplify large format printing with a redesigned poster application in the HP Applications Center7, which also includes Adobe Stock, Unsplash, Vecteezy, and Pattern Design, offers customers access to the necessary tools for creating beautiful, original signs, and posters. The HP Applications Center also embeds augmented reality (AR) technology to ignite the creation of more meaningful and engaging content for print.
  • Indoor and Outdoor Durability: Create prints with highly-stable pigment HP Vivid Photo Inks that provide water-resistant, fade-resistant prints8 for long-term indoor display and, when printed on suitable water-resistant media, outdoor display. HP Vivid Photo Inks gives PSPs the assurance that the prints they make for their customers will last as long as possible.
  • Security: Take advantage of the industry’s most secure printers with HP Secure Boot, whitelisting, authentication solutions, and HP JetAdvantage Security manager to safeguard printers and data for enterprise and government.
  • HP PrintOS: Remotely manage the print production environment from anywhere at any time with HP PrintOS now offered on the HP DesignJet Z Printer series.

HP is also announcing enhanced HP DesignJet Z6x10 Printers for a better user and output experience. Boasting a new fresh design, the new printers have new labeling indicating the printer colors to simplify ease-of-use. The printers have new printheads and Chromatic Red Ink formulation to deliver sharp detail and precise line quality. Optimized fast and normal print modes for heavyweight coated, polypropylene and canvas to speed-up production and enhance image quality. Lastly, the new printers will have 500 GB HDD with more virtual memory to process complex and graphic intensive prints.

HP offers a wide variety of innovative media including the new:

  • HP Recycled Satin Canvas is a 17.4 mil (443 micron), 370 gsm crack-resistant canvas for HP aqueous inks, made from 100% recycled water bottles making it the first of its kind in the HP Wide Format Media Portfolio.
  • HP Everyday Blockout Display Film with a unique construction of three layers of polypropylene, polyester, and polypropylene film for an added suppleness and superior lay-flat properties. HP Everyday Blockout Display film is a thicker film compared to 100 percent polyester, costs less, and has a coating for dual ink technology.

Follow HP Graphics on Facebook, Twitter, YouTube and LinkedIn.

Availability9

The HP DesignJet Z6, Z6x10, and Z9+ Printers are expected to be available on June 1, 2018. The 44-inch HP DesignJet Z6 and Z9+ with dual roll and vertical trimmer are expected to be available on July 1, 2018.

1. Source: Photo Merchandising report from Infotrend

2. Source: New York Times

3. Based on internal HP testing April 2018, tests done on mechanical printing time. Up to 2.5 times faster printing compared to the HP DesignJet Z3200 Photo Printer series. May vary depending on print mode and media type.

4. Vertical trimmer and dual rolls included with the HP DesignJet Z9?dr 44-in PostScript® Printer with V-Trimmer only. Up to 20% reduction in post-processing labor time based on internal HP testing compared to HP DesignJet Z9?dr series printers without built-in vertical trimmer.

5. Embedded in the HP DesignJet Z9? Printer series is an i1 spectrophotometer from X-Rite. Close collaboration between HP and X-Rite ensures a reliable solution that’s been thoroughly tested to meet customer demands for ease, quality, and dependability.

6. Based on internal HP testing April 2018, tests on mechanical printing time, comparing to HP DesignJet Z9? series printers without gloss enhancer. HP Gloss Enhancer can be used on photo paper, except for matte-finish papers. Optional upgrade available second half 2018.

7. Requires an HP Applications Center account, Internet connection, and connected Internet-capable device. For more information, see http://www.hpapplicationscenter.com.

8. Performance may vary based on writing system differences. Print permanence estimates by HP Image Permanence Lab based on the same formulation of HP Vivid Photo Inks used with the HP DesignJet Z6200 Photo Production Printer, using 6 inks. Water resistance performance varies based on printer and print profile. Water resistance testing by HP Image Permanence Lab on a range of HP media and follows ISO 18935 method. Display permanence rating for interior displays/away from direct sunlight by HP Image Permanence Lab on a range of HP media. For more information, see http://www.HPLFMedia.com/printpermanence.

9. Pricing and availability subject to change.

Articles: Digital Photography Review (dpreview.com)

 
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How I built a large-format (8×10) video camera

07 Feb

Large format, for me, has always been the dream. Not for its ridiculously high resolutions—the 12 megapixels of my Sony a7S are more than plenty for me—but for its unique depth rendering. There is an enchanting quality to the depth of field produced by a huge chunk of vintage 8×10 glass that is near impossible to replicate on a smaller format, mostly thanks to the ridiculous equivalent aperture that would be required.

My longing for large format without the expense and and hassle of chemicals led me to build a pretty unique camera rig with very promising results.

The camera works by projecting an image from a large format lens (an Industar-37) onto a large matte white screen. The projected image is then captured with an off-axis camera (a Sony a7S) and wide-angle lens (an Irix 15mm F2.4). The 15mm is shifted upwards (using a Kipon shift adapter), which allows it to record a centered image of the screen with none of the perspective distortions that would come from simply pointing the camera up, and still be well out of the way of the light path.

I am not really sure if it should be called a ‘large format camera’ or a ‘large format adapter’—is format determined by the size of the imaging plane, or that of the sensor? Usually those are one and the same but not with a rig like this—but either way it records real large format images and just from my first results, I think they look fantastic.

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Beyond just digitizing large format photography, the rig opens up the really exciting possibility of large format video. It is absolutely incredible to see the large format image come to life, and it is something the world hasn’t really seen before. Dynamic range and resolution are only limited by the camera you put inside, and I am just using a consumer camera. I can’t wait to see how the rig performs with cinema gear.

The main downside of of the the design is sensitivity. The process of re-imaging loses about 6 stops of light, so an ISO 100 shot outside the camera becomes an ISO 6400 one in the rig. Thankfully, many modern cameras have excess sensitivity for bright environments so the camera works great in well-lit scenes, although it definitely struggles without proper lighting like the indoor scenes in the video above.

Large format ‘reimaging’ rigs have been made before (quite successfully by Gonzalo Ezcurra), but with one key difference: they project onto ground glass and record the image from behind, instead of reflecting the image off a diffuse surface. This method works, but ground glass is never a truly perfect diffusing filter, so there will always be a hotspot at the center of the image and some grain pattern introduced as well. The hotspot can be reduced—really, just enlarged so it looks more like a vignette and less like a spotlight—by moving the camera further back with a longer lens, but then the already huge setup just gets longer and less practical.

My version has the advantage of a folded optical path: since the image is bounced off a screen instead of going through a ground glass, the rig is about half the size of these other experimental reprojection cameras. It is still rather unwieldy, but this size difference is enough to allow shoulder mounting and really improve usability to the point being a genuinely useful tool instead of just a novelty.

I am currently working on an updated v2 version with a host of improvements, but I have really just skimmed the surface of the new possibilities with a camera like this.

Zev Hoover is an 18 year old photographer/videographer based in Natick, MA. His work has been widely featured, ranging from the Boston Globe to a BBC mini-documentary, and he has received awards including the Flickr 20-under-20 Award and 500px ‘innovation’ contest winner. You can find more of his work on his website: zev.tv

Articles: Digital Photography Review (dpreview.com)

 
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Arri introduces Alexa LF ‘large-format’ 4K camera and LPL mount

03 Feb

Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

Large PL mount

A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

For more information and more show reel samples see Arri’s Alexa LF microsite.

Press release

ARRI launches large-format camera system

The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

Articles: Digital Photography Review (dpreview.com)

 
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New Alexa large-format 4K cinema system introduced by Arri

03 Feb

Cinema camera manufacturer Arri has launched a completely new, ‘large format’ 4K system comprising a camera with a new lens mount and 16 new lenses to go with it. The Alexa LF camera uses a sensor fractionally larger than what stills shooters would consider ‘full frame’ and can record in resolutions up to 4.5K and at frame rates of 150 fps.

Arri introduced the new system today at London’s BSC Expo, and claims the new system is smaller and lighter than current full frame models. The camera’s sensor measures 36.70 x 25.54mm and uses 4448 x 3096 pixels – all of which users will be able to utilize in open gate mode. When used in 16:9 mode a 31.68 x 17.82 mm area is exposed with a full 4K resolution of 3840 x 2160 pixels. This is a 36.3mm diagonal, so is fully compatible with lenses such as Zeiss’s Compact Prime and Cinema Zoom series of lenses.

A 2.39:1 ratio mode uses 4448 x 1865 pixels and a 39.8mm diagonal.

In all of these modes the camera can shoot at up to 90fps in Arriraw, but it can manage 150fps when used in 2.39:1. Arri says the sensor has an exposure latitude of ‘14+ stops’. Newsshooter is reporting that the sensor is essentially two of its existing, 8-year-old ALEV-III sensors stitched together.

Large PL mount

A new lens mount has been introduced with the system that uses a wider throat and a shallower flange so that lenses can be made with large maximum apertures that would not be possible with the narrow throat of the PL mount. It should also allow lenses to be slightly smaller and lighter. The LPL (‘Large PL’) mount is 62mm in diameter and has a depth of 44mm, so existing PL lenses can also be mounted via an adapter. Arri says it is making the LPL available under licence to other camera manufacturers and third party lens makers.

Its own collection of Arri Signature Prime lens system will comprise 16 lenses of between 12mm and 280mm. All will have a maximum aperture of T1.8 and will be compatible with the new LDS-2 lens data protocol, which Arri says it will also license. The mount will be able to read data from LDS-1 and /i lenses.

According to the Cinema 5d website pricing will start at €76,608.37 plus tax, adding ‘if you think it’s expensive, it’s probably not aimed at you…’

For more information and more show reel samples see Arri’s Alexa LF microsite.

Press release

ARRI launches large-format camera system

The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

At the 2018 BSC Expo in London, ARRI has unveiled a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows.

Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturizing the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

In the lead-up to the release of its new large-format system, ARRI asked a number of cinematographers to shoot with the camera and lenses in real-world situations. Among them was Dan Laustsen ASC, DFF, who is Oscar-nominated this year for his work on THE SHAPE OF WATER. After shooting with the system, Laustsen commented, “We were trying to tell a story about wideness and freedom; the ALEXA LF worked really well. The depth of field is so small, creating its own world. It’s fantastic.” Of the Signature Primes, he noted: “The lenses are lightweight and are not too sharp, but with a certain softness and very specific. With the 25 mm lens, you feel like you are there in the scene with the actors.”

The new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh-a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Another cinematographer to shoot with the system prior to its release was Wang Yu, who used it to explore the atmospheric studio and creative inspirations of the celebrated Chinese artist and furniture-maker, Shao Fan. “The results got me really excited,” he says. “The camera and lens captured every tonal nuance with unmatched detail, gradation and color. I love how the out-of-focus areas are rendered, contributing to a rich and vivid overall look.”

Although the camera, lens mount and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system’s design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

Tom Fährmann BVK, who also got a sneak preview, chose to shoot a diverse palette of faces and skin tones against a white background, under varying portrait lighting conditions. He reports: “To me, the system embodies typical ARRI quality, but there is a new level of emotion to the images-a smoothness to the way the camera and lenses work together.”

ALEXA LF offers the same tried-and-true, versatile workflows as other ALEXA cameras. Existing ARRI Look Files can be used, and the entire range of ARRI workflow software tools will support ALEXA large-format images. Lens metadata can be recorded from LDS-1, LDS-2 or /i capable lenses.

Shooting wide open with ARRI Signature Prime lenses for shallow focus and gorgeous bokeh, French cinematographer Matias Boucard worked purely with natural light and available sources when he tried out the new system in Thailand. “The ALEXA LF camera and Signature Prime lenses are an elegant combination,” he says. “I love the lenses; they strike a wonderful balance between modernity and character.”

Articles: Digital Photography Review (dpreview.com)

 
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A travel-sized large-format 4×5 camera?

22 Apr

Screen_Shot_2014-04-21_at_9.50.18_AM.png

Ever wanted to shoot with the incredible image quality of large-format 4″x5″ film? Well now you can without lugging around a massive view camera. Wanderlust’s Travelwide 4×5 camera is small enough to go wherever you go. At 6.3 x 3.9 x 5 inches and 9.7 ounces it’s relatively compact and definitely lightweight. Constructed of glass-filled ABS plastic, the point-and-shoot camera features a focusing screen, focusing marks on the barrel, and a trio of cold shoe accessory mounts. Learn more

News: Digital Photography Review (dpreview.com)

 
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Film vs. Digital in Large-format Photography: Which Is Better?

09 Dec

French photographer Marc Riboud said, “Taking pictures is savouring life intensely, every hundredth of a second.” Although astounding, the human ability to capture and store moments in image rich memory is limited. Visual encoding start with perception follows through to the moment when it is committed to memory and then reaches the period after in which the memory is retained. Continue Reading

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