THE NEW XCD 35-75mm F3.5-4.5 ZOOM lens from Hasselblad promises prime-lens performance.

THE NEW XCD 35-75mm F3.5-4.5 ZOOM lens from Hasselblad promises prime-lens performance.

There is no question that many Hasselblad X1D-series users long for a zoom lens to complement the system. Just announced, the zoom lens promises to deliver performance-matching prime lenses. Per Nordlund, Hasselblad lead optical designer, said: “This really is the best lens Hasselblad has developed —its performance is extremely high, competing with our prime lenses. I can even go so far as to say that it’s probably the best zoom lens currently available on the market.” Hasselblad points out the quick autofocus and internal focusing, which keeps the lens’ dimensions constant. Here is the link to the official announcement. We will bring you more information, including a full review of this lens, once it becomes available.  

   

You will find the full press release and more information on Hasseblad.com

The Medium Format Magazine will also have extensive and exclusive coverage of the lens from every possible angle by our contributors. We will share our findings and provide you with analysis of the medium format market, following this important release. 

For those of you who are already shooting medium format or considering buying your first medium format camera, we invite you to subscribe and get immediate access to the latest and all past issues of the Medium Format Magazine and highly regarded PDF Exclusive publications. 

Also join our FB MediumFormat Group to stay in the conversation. 

2019 © OLI Publishing Inc. All rights reserved.

    

Hasselblad has drastically improved the shooting experience with the brand new X1D II 50c.

Hasselblad has drastically improved the shooting experience with the brand new X1D II 50c.

Although many users of the original X1D enjoyed its size, portability and image quality, its speed and slow operation dampened its overall appeal. With the just-announced X1D II 50c Hasselblad has decided to build on the camera’s strengths—portability, ease of use and image qualityas well as addressing the speed issues along with some technical updates. It appears that instead of checking as many feature boxes as possible, Hasselblad has put emphasis on the shooting experience.  

Indeed, the improved X1D II 50c retained its beautiful design, portable size and general ease of operation. It is a camera which can easily be taken out of the studio and handheld all day without any fatigue.

We had the chance to hold the camera for a few minutes and it feels incredibly solid and of premium quality with all the parts crafted from the best materials. The graphic grey exterior looks absolutely stunning. You really feel you are holding something very premium.

We are glad that Hasselblad kept the same comfortable and confident grip, allowing shooting without a strap. In fact, the X1D II 50c feels like an oversized compact camera. It is hard to believe it is medium format. 

One thing that we liked right away was the giant LCD screen on the back. It may well be the largest LCD screen of any medium format camera; the 3.6-inch 2.36-million-dot touch display is very easy to get used to. After looking at it for a few minutes you feel all cameras should have a screen like this. Surprisingly, even though it is mounted on such a relatively small camera, it doesn’t overwhelm the design but rather enriches it. 

The electronic viewfinder (EVF) has been upgraded to 3.69-million dots and a high magnification of 0.87x with the possibility of having more information displayed inside the viewfinder. 

The sensor remains the same 50-megapixel CMOS sensor (43.8 x 32.9mm), which already provides great image quality. Hasselblad emphasises its dedication to natural colour solution (HNCS) technology integrated in the camera itself, allowing the photographer to achieve “true-to-life” tones that match what the human eye sees. 

Given the refinement of the camera, Hasselblad priced the X1D II 50s very competitively at US$5,750 and EUR 5,000. The camera is available for order right away with delivery dates of July 2019.

You will find the full press release and more information on Hasseblad.com

The Medium Format Magazine will be publishing the first impression piece along with some sample images shot on the streets of New York later this week. We will also have extensive and exclusive coverage of the camera from every possible angle by our contributors. We will share our findings and provide you with analysis of the medium format market, following this important release. 

For those of you who are already shooting medium format or considering buying your first medium format camera, we invite you to subscribe and get immediate access to the latest and all past issues of the Medium Format Magazine and highly regarded PDF Exclusive publications. 

Also join our FB MediumFormat Group to stay in the conversation. 

P.S. We will be publishing the first impression piece along with some sample images shot on the streets of New York later this week. 

2019 © OLI Publishing Inc. All rights reserved.

Hasselblad has taken the medium format market by surprise by announcing a brand-new modular camera system, the CFV II and 907V, rooted in its rich history.

Hasselblad has taken the medium format market by surprise by announcing a brand-new modular camera system, the CFV II and 907V, rooted in its rich history.

While the market welcomed the successor to the X1D, the real surprise came from Hasselblad’s press release stating it is working on a brand-new 907X camera body and the modernised CFV II 50c camera back. 

This move not only opens up a brand-new category of modern digital medium format products but also merges it with current products, so popular among medium format photographers. Hasselblad’s press release reads: “The CFV II 50C digital back will enable the use of most V System cameras made from 1957 and onwards in addition to third-party technical or view cameras.” The new digital back will feature a tilt screen with full touch support including image review and menu navigation. 

Then, there is the brand new CFV II 50C—the smallest medium format camera body ever. What many photographers may find exciting is the combination of the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. In addition to access to all of the X System lenses, Hasselblad teases with the possibility of using a huge range of Hasselblad lenses via adapters, including the H System, V System, and XPan lenses.

Hasselblad is also planning to release the 907X Control Grip and 907X External Optical Viewfinder. 

You will find the full press release and more information on Hasseblad.com

The Medium Format Magazine will have extensive and exclusive coverage of the new system once it becomes available.

For those of you who are already shooting medium format or considering buying your first medium format camera, we invite you to subscribe and get immediate access to the latest and all past issues of the Medium Format Magazine and highly regarded PDF Exclusive publications. 

Also join our FB MediumFormat Group to stay in the conversation. 

2019 © OLI Publishing Inc. All rights reserved.

The GFX100 has arrived!

The GFX100 has arrived!

Fujifilm continues its push into medium format with the third flagship camera GFX100

With the announcement of the GFX100, it has become clear that Fujifilm is fully committed to medium and large format challenging the entire industry including the overcrowded high-end full frame market. 

In the October 2019 edition of the Medium Format Magazine, Billy Luong of Fujifilm said: 

“We feel that for someone who wants the ultimate image quality as well as high resolution, this 102-megapixel sensor is a breakthrough in technology. It’s the IBIS sensor, the same technology that’s found on the most recent announcement of our XT-3 camera but in a medium format size or a G format size.” 

In addition to that sensor it’s also going to use the latest X processor 4 which again is found on the XT3 and it’s really going to expand the performance of the system both on AF as well as the accuracy and speed. 

Consequently, we’ll see unique things that we haven’t done on a medium format, which is video. This is going to showcase medium format as a potential video system. The system is going to offer 4K at 30 frames per second and the unique thing is that it’s going to offer that 10 bit. It’s a dream to have that greater depth of field control, the increased dynamic range and the Fujifilm colour that we bring to all our cameras. To me that’s very promising and, of course, IBIS that you mentioned earlier. Again, I think it’s one of the first medium format lenses/sensors to be stabilized. Using longer lenses, prime lenses, we can shoot in much more difficult scenarios in lower light and lower ISOs and still get nice sharp images.” 

Today, Fujifilm revealed the final version of the highly anticipated GFX100. 

Here are the highlights (from the official release): 

World’s First 100 MP BSI CMOS Sensor in a Mirrorless Camera

The GFX100 pairs a newly-developed back-illuminated 102MP CMOS imaging sensor with Fujifilm’s blazingly fast X-Processor 4 processing engine to create a combination capable of outputting 16-bit images with amazing color fidelity, rich shadow detail, and incredible dynamic range. 

World’s First Five-axis IBIS in a Camera Featuring an Image Sensor Bigger than the 35mm Format

High-resolution image sensors require high-level stability to ensure image sharpness. With built-in 5-axis image stabilization, GFX100 users are reassured that vibrations won’t interrupt the capture process. The function offers up to 5.5-stop image stabilization (when using the GF63mmF2.8 R WR lens)[2]. The entire shutter unit is suspended with four springs to minimize the effect of shutter shock. This dramatically broadens the scope of situations where a user can hand-hold the camera and still enjoy the world of 100MP+ ultra-high resolution, pushing the boundaries of photographic expression.

World’s First On-Board Phase Detection Hybrid AF with approximately 100% Coverage

With 3.76 million phase detection pixels, at approximately 100% coverage, near perfect auto-focus performance with speed and accuracy is now a reality for photographers needing optimum performance in subject tracking, face/eye detection and low-contrast environments. The effect is particularly notable when using fast prime lenses, achieving speed improvement of up to 210% over the conventional contrast AF system used in GFX 50R.

Large Format Camera with 4K video at 30p

The new sensor and processor combination support 4K video recording at 30p with a unique cinematic  look. It’s now a breeze to explore shallow depth-of-field, wide tonal reproducibility and extra high ISO sensitivity, producing high-quality video footage with detailed textures while reproducing three-dimensional definitions and even capturing the atmosphere of the scene. With the ability to apply Fujifilm’s highly respected Film Simulations (including ETERNA cinema film simulation mode), record in F-Log Rec 2020, and capture 4:2:2 10-bit uncompressed footage through the HDMI port, GFX100 should certainly be coming soon to a screen near you.

Dust-resistant, Weather-resistant, Lightweight and Highly Robust Magnesium Alloy Body with Integrated Vertical Grip

Maximizing its use for even the toughest conditions, the GFX100 has weather sealing in 95 locations across the camera body and detachable EVF to ensure an exceptionally high level of dust and moisture resistance. Photographers will have the opportunity to capture moments in even the most remote locations as the GFX100 can maintain reliable operation even under tough natural conditions.

Although it sports a large image sensor, the GFX100’s body is equivalent to that of a flagship 35mm full-frame DSLR camera in terms of dimensions (6.15” (W) x 6.44” (H) x 4.05” (D), measuring 1.93” at the thinnest part) and weight (approx. 3 lbs. including two batteries, memory card and EVF).

Designed for protection, the GFX100’s core imaging unit, consisting of the lens mount, image stabilization mechanism and image sensor, has been structured completely separate from the main body panels. This “double-structure” is designed to ensure a high level of precision and robustness while minimizing resolution degradation caused by external stress to the body. To maximize usability, the GFX100 incorporates a vertical grip, enabling effective use of in-body space.

Advanced Color Reproduction Technology, Delivering Astonishing Quality in Stills

The combination of the newly-developed image sensor and the fourth-generation X-Processor 4 processing engine means the camera supports the 16-bit RAW capture requested by many professional photographers seeking files that tolerate heavy post-processing. The GFX100 also features the newly-developed “Smooth Skin Effect” function, which automatically smooths the skin tone of the subjects, as is often performed in portraiture. It allows the photographer to skip a portion of post-processing work so that images captured with this function can be finished at an extremely high level of perfection, faster.

The GFX100 digital camera body will be available on June 27, 2019 at a suggested retail price of USD $9,999.95 and CAD $13,299.99.

The Medium Format Magazine will have extensive and exclusive coverage of the camera from every possible angle by our contributors. We will share our findings and provide you with analysis of the medium format market, following this important release. 

For those of you who are already shooting medium format or considering buying your first medium format camera, we invite you to subscribe and get immediate access to the latest and all past issues of the Medium Format Magazine and highly regarded PDF Exclusive publications.

Also join our FB MediumFormat Group to stay in the conversation.  

Medium Format Magazine – May 2019

Medium Format Magazine – May 2019

The May issue of the Medium Format Magazine is here!  

Peter Delaney opens the issue with his deep, personal and thought-provoking piece, “In love with landscape” in which he shares his journey to landscape photography. The accompanying imagery will not only surprise you but will certainly WOW you. What a great piece!

© Peter Delaney

Then Ming Thein, one of the most prominent voices in the photographic industry, shares with us a bold and provocative but honest and eye-opening essay, “Asking Difficult Questions.” He asks, “Why are all cameras, and more importantly, shooting experiences, pretty much the same?” The piece will certainly steer a very important discussion about camera design and the future of the industry. A must-read!

In this month’s column, “Beyond Medium Format” Ibarionex Perello writes about “Breaking free of trends.” In his usually witty and thought-provoking style, Ibarionex shows us the lure and fallacy of photographic trends. I am confident that you will find this article informative and engaging. It’s a much-needed mirror into our state of seeing. Priceless! 

© Ibarionex Perello

In this month’s interview, I had the pleasure of talking to Swee Oh, a brilliant architectural photographer and someone with whom I immediately made a personal connection. The way Swee sees and crafts her imagery is very special. When architectural photography could be cold and impersonal, this is certainly not the case with Swee’s work. She does something not many photographers are able to do. She captures the soul of the subject and makes those stunning constructions come alive. A fascinating interview, with a unique personal story. 

© Swee Oh

You would think that a piece created in transit would be somehow compromised and dull. Not from Patrick La Roque! Not “Frailties.” In his usual sharp-witted and poetic style Patrick shares his thoughts about photography literally “on the fly” but with such finesse and depth that I couldn’t stop reading and re-reading every sentence. When photographing a random person in the airport he writes, “To get close enough. I might steal her soul, unnoticed” – watch out. This piece may indeed do just that.   

J.D. Floyd follows with his insightful piece, “The story behind creating the image.” You will learn about the photo shoot in a beautiful and visually striking location. J.D. Floyd shares his personal story and fascinating tale of one photo shoot. What a location! What imagery! 

In the next piece, Ian Howorth takes us into the world of medium format film photography. And what a rich world it is! It is such a pleasure to soak up and enjoy those cinematic, brilliantly crafted images along with the story of the photographer himself. I am glad we are getting to know Ian better because I am thrilled to say that you will find his pieces and imagery in the next issue of the Medium Format Magazine as well. 

© Ian Howorth

This month, Alex Burke is “Exploring the intimate landscape with large format.” As he wanders through forest and wilderness, he shares pieces of his seeing captured so beautifully and shows us the world we often miss by chasing yet another beautiful grand landscape. Large format is the perfect medium to capture the beauty and intimacy of small-scale nature. Indeed, reading Alex’s piece and looking at the details only large format can capture, I am in awe and you will be too!

The last article is a very important piece by Ian Ross Pettigrew, “The living heroes project.” We usually stay away from displaying or promoting personal projects, but we feel this one is special. In the buzz and excitement of daily life we often forget that some projects cannot wait, that some stories must be told – not tomorrow but now. This is one of those important projects. Ian is already off to a great start and you can see the first images from this important project. We at the Medium Format Magazine will do our best to support this project and we hope you will do the same. 

I trust you enjoy the articles and imagery presented in the May issue. Please feel free to share your thoughts and ideas. We are always looking for your feedback. 

NOT A MEMBER YET? SUBSCRIBE TO THE ONLY MAGAZINE DEDICATED TO DIGITAL AND FILM MEDIUM FORMAT! 

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2019 © OLI Publishing Inc. All rights reserved.

Medium Format Magazine – April 2019

Medium Format Magazine – April 2019

For those of you who missed it, the April edition of the Medium Format Magazine is out!

This month we start off with a fascinating interview with Jonas Rask. I have had the privilege of knowing and interacting with Jonas on a regular basis. When you look at his publishing and writing schedule you would think he must be a full-time professional with an army of people working for him. But it is passion and a zest for seeing that drives this full-time doctor and allows him to produce so many great images, articles, gear shots and more. Did I mention his passion for old cameras and involvement in development of some camera products? How does he have the time? Make sure to read our fascinating interview with this photographic tour-de-force and read his “prescription” for finding joy in photography. 

© Jonas Rask

In this month’s column “In Pursuit of Transparency,” Ming Thein revisits one of the most important questions: “What is Medium Format?” If you think you are going to find trivial, overdone definitions, think again. Ming, in his witty and fact-based style, invites us to think about the subject from a slightly different perspective. Whether you are a gear lover or not, you will enjoy this informative and thought-provoking piece. 

On the following pages, you will find Ioannis Tsouloulis’ article, “How I Connect with the People I Photograph for my Intimate Portraits.” This appears to be simple but somehow, we all struggle with it – how do we connect, interact and photograph people in front of our lens? Ioannis provides us with specific, real-life cases and shares his methods and techniques of working with his subjects. A fascinating and educating read!

Next, Lloyd Chambers shares the results and his personal conclusions following his in-depth testing of the 100-megapixel Hasselblad H6D-100c camera. With a new generation of medium format cameras with 100-megapixel sensors coming to the market this year, does this magical 100 really make a difference in comparison to 50-megapixel devices? You must read Lloyd’s piece and his conclusions to find out! 

Next, yours truly will share some thoughts about “taking visual risks” and why it really pays off to go beyond your own specialization, to try ideas and types of photography you are not familiar with or maybe not fond of at this time. I am sharing my personal thoughts about why I think an occasional detour could be beneficial for you and your business. I hope you enjoy my piece and the accompanying imagery. 

The next piece by Ibarionex Perello tackles very important ideas of style and talent. Ibarionex, in his usual articulate and thoughtful way, shares his thoughts about technical proficiency, personal development, satisfaction and building a body of work which would be uniquely yours. Ibarionex’s personal experience and years of interactions with the best photographers in the world though his iconic “Candid Frame” podcast allow him to present a perspective which is unique and grounded in an unprecedented body of knowledge. What a fascinating read!

The next article by David Szweduik is the first in what it will become a new section dedicated to medium format filmphotography. While this month we decided to leave the current fluid form of the magazine intact, you will soon see a clear separation – or in other words a more prominent section of the magazine dedicated to medium format film. David’s article is an important one because he shares his story of starting in medium format film as it happened. What a great start for the upcoming film section of the Medium Format Magazine. 

Alex Burke continues to explore film photography with his case for large format film photography. Indeed, when looking at Alex’s work it is difficult to argue otherwise. The amount of detail, tonal transitions and the general beauty of the files is jaw-dropping. Warning! After reading this you may want to hit some used-equipment camera stores for some gear shopping.  

Last but not least, Mac Sokulski has been shooting film for only a year. As someone who has previously worked with both digital and film, his account of limiting himself to medium format film photography brought many unexpected and fascinating discoveries. Mac shares this experience in great detail along with imagery taken during the year of “no digital allowed.” 

© Mac Sokulski

I trust you enjoy the articles and imagery presented in the April issue. Please feel free to share your thoughts and ideas. We are always looking for your feedback. 

One way to support this publication is to spread the word about it. I would be grateful if you shared news about this issue along with the link to MediumFormat.com with your medium format friends and followers.

NOT A MEMBER YET? SUBSCRIBE TO THE ONLY MAGAZINE DEDICATED TO DIGITAL AND FILM MEDIUM FORMAT!

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