Nov 132015

Spain, Costa Blanca with the Mamiya 7

By Dirk Dom



Spent a week in Moraira, Costa Blanca, Spain with my folks and my sister and her husband.

I took the Linhof technical camera and the Mamiya 7 with the 65mm and 150mm lens. These lenses were newly bought and I hadn’t used them yet.

The 150mm has a bad rap, because it is supposed to be difficult to focus with the rangefinder. So far, I only had the 43mm superwide for that camera, which I always zone focused. This was in fact the first time I was really obliged to use the rangefinder.

It turned out that all my exposures were focused spot on. I think the bad reputation of the 150 is because many people buy this lens for street photography (it’s equivalent to a 77mm on full frame (35mm film) and focusing with the rangefinder on moving subjects may be difficult. You need something with good contrast.

Because I was enjoying this vacation with other people, I didn’t use the Linhof. I shot the 150mm all the time, except for one shot with the 65. All in all I shot eight films, 80 images.

Well, enough said.

For the tech people:

Mamiya 7, 6×7 format.
150mm f/4.5
65mm f/4.5
Kodak Tmax 400 exposed for 800, developed in Tmax developer at 24°C for six minutes
Orange filter
Scanned with Epson V750 at 2,400PPI, photoshopped (levels, burning and dodging)
Prints on Hahnemühle Baryta.

Here we go:

Here I had this diaphragm spot. I decided to make it more obvious and use it in the composition. I think it came out nice, but of course it’s not something I do every day.


Underwater rocks are always beautiful. Black and white isn’t an obvious choice for this, because the brown rock and the beautiful blue water. I think this simple image came out nice.


On the way to Denia this landscape with three clouds.


This is the Ifach, the epic rock at Calpe which was a navigation landmark for the Phoenicians.


When I saw this image, I only had a second. I grabbed the camera and fired. This shot for some reason was extremely difficult to post process, because the coastline in the back was a perfectly even grey. It took four tries to make it into something sensible, and even now I’m not fully satisfied. But I can’t make it any better.


This tower I’ve been shooting for years. The sky happened to be beautiful this time.


I just love cloudscapes. A few weeks ago, I thought: “Why don’t I take photographs of just clouds, without landscape underneath?

These are my first images.



Only shot taken with the 65mm on this trip.


These cloud shots are a riot. I use the shot as a template and then I burn and dodge to taste. It may sound a little weird, but I take a great deal of time doing minute detail, going back and forth from a big image to a small one. I only stop when it looks perfect and balanced to me. I guess this is the ultimate “Negative is the Score, Print is the Performance” (the famous Ansel Adams quote) experience.


Well, ten shots out of eighty. Not bad.

The Mamiya 7 is an ultimate fun camera. It handles extremely easy, and the negatives… Well, let’s just say half a year ago I really, really wanted a Sony A7S, well that want has just gone away, I’m on a different road. I’ve never had such a positive photographic experience as with medium format black and white. I must say the rangefinder experience is extremely positive.

Hope you’ve enjoyed the show, thanks for looking.

Oh, yes, got a website now:



Nov 122015
Glen Coe Valley

Scotland in Medium Format with a Phase One DF+

By Andrew Paquette

For my autumn holiday this year I had wanted to do a fashion shoot at a nearby ruined castle. However, I wasn’t able to find the right models or styling for it, so I opted to go to Scotland instead. This is something I’d wanted to do since seeing Skyfall when it came out, and my interest was only enhanced when I saw Albert Watson’s photographs at the Isle of Skye. I mentioned this to a photographer I knew in Edinburgh, Laurence Winram, who helped me find a good assistant (a great assistant—Stuart McMillan) and loaned me a lightstand and incidental gear for the trip.

I shot all of my serious shots with a Phase One DF+, an IQ250 back, and an SK 80mm LS lens. In addition, I brought a Sony A7R, Leica 35mm Summilux, and a Zeiss Alpha 135mm lens. The Sony was there to take video of the excursion, though it did get used for some incidental shots. Everything was shot tethered. This made things a bit more complicated in the rain, but some of these shots wouldn’t have been possible any other way so I’m glad we went to the extra trouble of bringing a laptop, tray, and stand for the computer. All photos were processed in Phase One’s Capture One Pro v. 8.2.

It rained off and on throughout the trip, at times quite heavily, but for hours on the second day it was clear. A surprise to me was how important my new waterproof hiking boots would be. I didn’t know anything about Scottish bogs until I got there, but after walking through a few, am grateful to my wife for insisting I get a new pair of boots. It was like walking on wet sponges—and this was true almost everywhere we went.

Because the monumental rock formations of the Isle of Skye have been extensively covered by other photographers, I tried to avoid them (though I was curious to see them). Instead, we focused on the inner portion of Skye Isle, and the less obvious places around Glen Coe valley. As Stuart said at one point, almost at our last stop ‘Look! That’s the first tripod we’ve seen so far—we’ve done well’. He explained that if we’d gone to some of the more famous landmarks, we would have seen dozens of photographers with tripods.

On my first shot I managed to snag my trousers on a thorn bush, which tore out a huge section of the backside. I didn’t notice, but apparently it was pretty obvious to Stuart:

‘Looks like you’ve torn your trousers there’
‘Is it bad?’ I asked.
‘Yep, it’s pretty bad.’

I took a look and was surprised at the extent of the damage. Luckily I was able to obtain a sewing kit at the hotel to sew them up. It looked like I’d been the victim of a shark attack, but under my rain gear, it was invisible. Apart from that mishap, everything went pretty well.

My primary goal was to make photos that resembled some of my watercolour paintings that have a strong Chinese influence, as seen in this example I made at Yosemite:

Figure 1 Lee Vining, watercolour on paper, 37″ x 54″ 2002


Here are some of the shots, along with comments:

Figure 2 Waterfall near the town of Calender ISO 800 f/2.8 1/1000

This was the first major shot I took, on the way up to Glen Coe. It is also the shot I ripped my trousers to get. The goal was to get something that would resemble Chinese paintings from the Song dynasty of big dark boulders in rivers or fast moving water. To get that effect, I wanted the water sharp, so we spent most of our time balancing ISO, f-stop, and exposure to get what I wanted.

Waterfall near the town of Calender

Figure 3 Mini bogs ISO 100, f/10, 1/200

On the way to Glen Coe, we passed a big lake that had a number of small islands topped by small trees. I wanted to shoot them, but didn’t have the time at that moment, so we came back and got this on the way back to the airport at the end of the trip. I wish I’d had a longer lens for this, but I didn’t have one, so this is a crop, making it one of the smaller images from this excursion. Because the IQ250 produces such large images though, it is still larger than most full frame DSLR images.

Mini bogs

Figure 4 Cuilnacnoc Gate ISO 100, f/16, 1/80th

Stuart and I spent at least an hour at the top of this hillside, engaged in an effort to capture the vastness of it. However, none of the pictures were able to do the job, so we hiked down. Not wanting to get trapped at the wrong spot, I took note of this location and then we continued to the bottom before deciding to come back up and get this shot. It is about four images stitched together in Photoshop, one of the largest of the stitched images I made on the trip.

Cuilnacnoc gate

Figure 5 Glas Bheinn Mhor ISO 100, f/20, 1/25th

We stood on a huge spongy mass to get this. The primary difficulty was waiting for the light to peek through the clouds and hit this mountain. We waited about a half hour or more after this was taken, hoping it would get better but it didn’t so I finished with this. It is one of the few images that is inspired by a British rather than a Chinese painting. In this case, I recognized the mountain as one painted by the British watercolourist Francis Towne (one of my favourite artists), so I was quite keen to get it.

Glas Bheinn Mhor2738

Figure 6 Glen Coe Valley ISO 100, f/14, 1/8th

This is one of the first shots taken at Glen Coe. It was a tough hike (for me) to get up the slippery moss and rocks while carrying about 15 kg of camera gear, but we made it up and were rewarded with beautiful views in every direction. It rained quite hard at times, but all of the equipment performed without malfunction. That said, by the end of the day, everything in my bag was covered with condensation moisture and needed drying off.

Glen Coe Valley

Figure 7 Glen Coe Bog ISO 100, f/12, 1/20th

When I first saw this it looked like a field of lumpy grass like what I frequently saw around Phoenix. When I suggested going out for a photo, Stuart warned me that “it will be wet”. It turned out this was a bog and it was very wet, just as he said. All of the plants you see here are growing straight out of water, and beneath that, soil. The mystery question is “how deep is the soil?” In most cases the water was only an inch deep, but in others your whole foot could get swallowed by one of the red spongy growing things they had all over out there.

Glen Coe Bog

Figure 8 Glen Coe 2 ISO 100, f/8, 2.5s

This image is one of the few that really looks like a Song dynasty painting to me. It is shot straight across the Glen Coe to catch the lowering clouds.

Glen Coe 2

Figure 9 Loch Long Cliffs ISO 100 f/11, 8s

Another of the ‘Chinese’ images. We were headed to Loch Anna, but couldn’t find access, so we stopped at Loch Long instead to shoot this at the end of the day, at sunset or a little after. It was a real surprise to me how Chinese the landscape looked because I hadn’t expected it at all.

Loch Long cliffs

Figure 10 Maligar homes ISO 100, f/20, 2.5s

This was shot in the early morning of the first full day of shooting. It was quite windy, which led to quite a lot of motion blur in the grasses—and in almost all of the photos I took on the 3 days of shooting that we had. This scene reminded me of Edward Hopper’s watercolours of New England homes in the U.S. The way it is shot here though, it looks more like watercolours by Winslow Homer from his time in England and then later near Boston.

Maligar Homes

Figure 11 Maligar Phone Booth ISO 400, f/4, 1/6th

I had just finished telling Stuart about a shot I didn’t get in Thailand—of a phone booth in the middle of nowhere—when we ran into this phone booth in the middle of nowhere. Stuart was kind enough to be the model for this, using the reflected light of his pocket torch to illuminate his face.

Maligar Phone Booth

Figure 12 Portree Harbor, ISO 800, f/2.8, 1/3s

This is easily the most difficult shot I got on the trip. We were driving back to Maligar for a second look at the houses, when I thought it might do just as well to stop in the town of Portree and shoot a church I’d seen there when we stopped for lunch earlier in the day. After getting out of the car with the equipment, we discovered that we didn’t have a good angle on the church. However, the harbour looked interesting, so we walked down there. As soon as I saw these boats, they reminded me of the watercolours of Paul Klee in the way they were arranged with very little overlap and simple colours. The boats were moving quite a lot as they bobbed on the water and there was very little light—less than it seems here because when we started the moon was not visible. We started by shooting at ISO 6400 to get the focus. The viewfinder was useless for this because it was almost pitch black, but the tethered computer allowed us to check focus there. Once we had the focus, we walked back the ISO until the graininess wasn’t an issue. After that, we did the same thing with aperture and f-stop. Then, the moon came out and we had the picture, complete with rays of light.

Portree Harbor

Figure 13 Sligachan Waterfall ISO 100, f/8, 1/3s

This is another of the Chinese compositions, near some of the most famous landmark rock formations on the Isle of Skye. Naturally, we didn’t see those or photograph them. To get this, we mounted the camera looking down a steep rocky defile. The terrain was quite spongy—giving me the feeling that I’d slide over any moment, but we got the shot okay and then headed back toward Portree.

Sligachan Waterfall2

Figure 14 Upper Ollach ISO 100, f/18, 1/6s

The original vertical composition for this image had a very Chinese feel to it, but I thought it looked better as a horizontal composition and cropped it. Now, it reminds me a bit of a van Gogh painting of windswept rocks that I saw in a catalogue for a show of his work in New York City.

Upper Ollach

Aug 112015
Jungle Bike 001


Tethered in Thailand: Phase One portfolio shoot

By Andrew Paquette –

In 2006, I picked up a Nikon D70 to take photographs of my paintings. At about that time I became curious about the creative potential of photography. In 2013 I picked up a Nikon D800 and some Zeiss lenses with the goal of using the gear purely as photography equipment, with no secondary artistic purpose in mind. The photos would be the product, period.

It was interesting to make compositions in camera instead of on paper or canvas because there are many differences in how it is done. For one thing, every element of a photo had to be present and doing the right thing in the right way when the shutter release was pressed. When making comic books, illustrations, visual effects shots, paintings, or drawings, any element of the image could be tweaked any way I liked, regardless what was in front of me. This was not an insignificant difference. Also, much of the appeal in the type of visual art I practiced came from my drawing and colour matching skill, both of which are irrelevant to a camera because a camera will always ‘draw’ an image perfectly and capture whatever colours are present. This opened the door to paying attentions to different creative issues, like content, story, lighting, texture, and so on.

By the present year (2015) I had practiced enough that I wanted to make a sports and fashion photography portfolio. Sports because I like to capture dynamic action and fashion because it reminds me of painting. The sports photos I had covered because I had plenty of shots from the Dutch Streetball Masters basketball tournament. The fashion portfolio however, promised to be more of a challenge.

The planning of this project was more extensive than I expected, but it had to be done and in the end it helped a great deal. The first step was to have an idea of what I wanted to shoot. To do this, I decided on three themes. The first set of photos would emphasise a model in several settings at a luxury hotel. For the second, I wanted a model to be a quiet magnet of attention surrounded by a busy and chaotic city. The last group would follow a model as if she were a college student on holiday in a rural part of Thailand. These themes allowed for different clothing styles, locales, and personalities among the models.

The next step was to figure out how I was going to find the people I needed to do this. After some searching on the Internet, I found the Fame Management Agency of Bangkok. They would supply models, stylist, MUA and hair stylist, catering, transportation, and coordination. With this done, I needed to pick the models, locations, and then make colour comps to give the stylist an idea of what I wanted to accomplish. In addition to these, I also found images of clothing, hair, makeup, and lighting to use as a style guide for each of the shots.

Figure 1 color comps


It took me about three weeks of evenings and weekends to make the sketches for the three shoots I had in mind, all based on location scouting done on Google Earth and street view mode. In the end I settled on three scenes for each shoot for a total of nine different shots. If I got a minimum of one good shot from each, the project would have been successful in my eyes. I hoped for more, but that was my minimum measure of success.

As the schedule developed for the shoot, I saw that I had enough time to squeeze in more shots. First, the stylist had found more outfits than I needed for one of the shoots, and then for the same shoot I had found more locations than I could deal with in one day. To accommodate this, I extended shooting by one day in that location. Then, I found a good Yoga asana performer and added one day to shoot her performing yoga asanas. Finally, PN Studio, the studio providing lights to the shoot, agreed to find a Thai boxing ring I could use for a boxing shoot. With that done, I now had six shooting days out of fourteen. The balance of that time would go to troubleshooting as needed on location.

My first day in Bangkok was tough. After about 36 hours without sleep by the time the plane landed, I had to quickly drop my bags at the hotel and then rush over to the Fame agency to meet with the producer and stylist there, Jha and ‘BM’, respectively. After that I had to go to the lighting rental place and meet with them. The entire trip was like this because, as it turns out, six days of shooting out of fourteen is actually quite a lot. For instance, once I was on the ground, I had to personally check every location to verify they would work. This meant re-scouting all of them and this meant a couple of days spent driving around checking out these places.

The locations proved to be the biggest problem for various reasons. On the first day, a location I had selected was suddenly unavailable so we had only a few hours to find a replacement. Luckily, a woman named Sirirat Traisupa from the Shangri-La Hotel was able to accommodate us by providing a couple of locations within the hotel. Another location that we got permission to use actually kicked us out halfway through because some other person didn’t want us shooting there. It was a public park, but he didn’t like the idea of a fashion model wearing fashion-y clothes in his park. That almost killed the entire day after only three hours of shooting, but our lighting assistant, ‘King’, found a wonderful alternate right around the corner. It looked nothing like what I’d planned, but we improvised and got some of my favourite shots of the trip there. The rural shoot didn’t present any permission problems, but the giant-sized biting ants didn’t endear themselves to the models, and the lighting assistants probably would have preferred carrying their equipment shorter distances in an air-conditioned environment. Another shot from this area that didn’t go as planned was one of a half-height orange telephone booth in the middle of the jungle. In street view, this looked like a great shot that would be interesting to western audiences not accustomed to seeing working phone booths in the middle of nowhere, but I discovered that the booth is almost sitting directly on a very busy rural road. The other side was jungle, but to get the shot I wanted, someone would have to be in the road and that would have been too dangerous. As an alternative I found another phone indoors and shot that.

The shooting went pretty well, but I had a serious technical problem with my Mac PowerBook: I simply did not know how to use the touch pad. I have used PCs for thirty years, but bought this, my first Mac, specifically for this shoot so that I could shoot tethered. For the most part it worked out fine, but my attempts to zoom in on images in Capture One seemed to drive the lighting assistant crazy because I could only do it occasionally by accident. This is because I was trying to use the spread finger gesture familiar to me from the iPad, but should have used the two finger drag gesture for this device. Unfortunately I didn’t discover it until all the shoots were over. If the assistant’s English had been better, he may have been able to explain the problem, but as it was it was just frustrating for both of us.

English language proficiency in general caused some communication problems from time to time. If I had known this would be an issue I would have hired a translator for the shoot. I was told that several of the people on the shoots would speak English so I didn’t have to worry about it, but in practice their pronunciation was very hard to understand just as they had a hard time understanding me. One of the models (Aim Nizayeva) once worked as a Russian to English translator, which really helped on her shoot but only in reference to directing her. The lighting assistant also spoke English, but only with serious effort could we communicate. On this issue, the best shoot was the yoga shoot. The reason is that the model, Betty Nitade, spoke flawless English and Thai. The lighting assistant at the studio (different from the other lighting assistants I worked with) couldn’t speak English at all, but Betty translated all of my instructions perfectly and I got exactly what I wanted with minimal fuss.

In comparison with my sketches, only one of the photos resembles the sketch that inspired it but all of the sketches were useful because they solidified in my mind what I wanted to get. This made it easier to communicate to the team and to make whatever adjustments were needed.


Camera: Phase One DF+, IQ250 digital back, Schneider-Kreuznach 80mm LS lens and SK 28 mm LS lens.

Lights: Broncolor 2400w/s heads and 1200 w/s heads, plus reflectors, beauty dish, grid, and miscellaneous light shapers

The photos:

Figure 2 Overpass 80mm, ISO 100 f/9 1s

Overpass 001

Figure 3 Balcony 28mm, ISO 100 f/8 1/10s


Figure 4 Cafe 001 80mm, ISO 200 f/4 1/100s

Cafe 001

Figure 5 Cafe 002 28mm, ISO 200 f/4.5 1/50s

Cafe 002

Figure 6 Jungle Bike 001 28mm, ISO 200 f/5 1/80s

Jungle Bike 001

Figure 7 Jungle Bridge 003 80mm, ISO 100 f/5 1/160s

Jungle Bridge 003

Figure 8 Jungle Doors 28mm, ISO 100 f/5.6 1/250s

Jungle Doors 001

Figure 9 Pier 004 80mm, ISO 100 f/2.8 1/40s

Pier 004

Figure 10 Pier Boxing 001 80mm, ISO 100 f/5 1/250s

Pier Boxing 001

Figure 11 Tea 001 80mm, ISO 200 f/8 1/30s

Tea 001

Figure 12 Yoga 001 80mm, ISO 100 f/6.3 1/160s

Yoga 001

Figure 13 Yoga 002 80mm, ISO 100 f/5.6 1/250s

Yoga 002

Figure 14 Yoga 005 80mm, ISO 100 f/5.6 1/250s

Yoga 005

Figure 15 Boxing 001 28mm, ISO 400 f/11 1/400s

Boxing 001

Figure 16 Boxing 002 28mm, ISO 400 f/10 1/500s

Boxing 002

Figure 17 Boxing 003 28mm, ISO 400 f/10 1/500s

Boxing 003


Photography: Andrew Paquette

Stylist: BM

Models: Aim Nizayeva, Pair, Bow, Betty Nitade

Makeup and hair: Wuttichai Jaiyong and others from the Bobbi Brown agency/Thailand

Clothes by: Tandt Bangkok, Nicha, Greyscale Shirt, Thanaporn Lanthong, Anchana Veeradaechapol, Soraya Kwanharn, Purinutt

Lighting assistants:

Producer: Jha

Agency: Fame Management Agency

Lighting rental: PN Studio

Studio rental: Pirate Studio

Boxing gym: Jitti gym

Apr 102015

Medium format goes medieval: comparing a Nikon DSLR with the latest from PhaseOne

By Andrew Paquette – His Website is HERE

A couple weeks ago I started making plans to do a photo shoot at the ruins of a local castle. I intended to bring my D800 and a Zeiss 55mm Otus as the primary rig, along with an A7r with a Zeiss ZA 135mm for action and close-up shots. However, a few days before the shoot, my wife and I were talking about medium format systems, the photographer Jason Bell, and then PhaseOne medium format cameras. To find out more about PhaseOne, I performed a few searches on the Internet, but didn’t get very far with pricing information because every page led me to a form that I could use to get a free test drive of a PhaseOne system. I was primarily interested in knowing what a refurbished system cost, but since I had to fill out the form to find out, I filled it out. A few days passed, and then on the day before the shoot, I got a call from PhaseOne. Would I like to borrow a camera for a test drive? The rig suggested by the salesman was the 645DF+, the IQ250 50MP digital back (their first CMOS sensor), and a Schneider Kreuznach 80MM f/2.8 leaf shutter lens. This is the exact same rig Bell mentioned when talking about one of his shoots. Curious to see how it would work out, and with a little trepidation that GAS syndrome may have just had a peek in the room, I decided to try it out.

Dungeon corridor, shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8

Settings: f/2.8, 1/5 ISO 400
Considering the slow shutter speed here, I really should have shot this at a higher ISO

Dungeon corridor


Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.2, 1/60 ISO 400

Robin in red

The primary reason I was curious about medium format in the first place had to do with my discovery that almost all of the photos I like the most were shot on medium format systems. In one case, a photographer had one shoot of many on her site that I liked a lot, while the rest were good but not as creatively inspiring. That one shoot was done with a PhaseOne. The more I looked, the more references to medium format and PhaseOne I saw. What finally decided me to look into it was a photographer who wrote how he had tried and tried to make images that had qualities he associated with his favourite photographers, like Annie Liebowitz, but couldn’t do it until he switched to medium format. Until then, he thought there was some problem with the way he was taking the photos, setting up the lights, or editing them in software. It wasn’t any of those things—it was the type of camera he used. After switching, he was able to get the look he wanted.

The D800 and the Zeiss 55mm Otus is a very nice combination for DSLR shooting. Short of the D800E or D810, it is about as good as it gets. The lens is the second-highest ranking lens rated by DxO labs (after the 85mm Otus), and the camera is one of the highest rated among DSLRs. The Phase One is similarly one of the best offerings from a brand that is popular among professional photographers. From my perspective, I wanted to know if the image quality difference would be noticeable, and if it would be worth the huge price difference between the two systems. Lately I have been gravitating toward portraits and fashion, both of which genres seem to benefit from medium format cameras.


This purpose of this article is to provide some information about how a high end DSLR system compares to a well-regarded medium format system, for those who are considering a switch. This is not meant to be a definitive scientific test. There are plenty of examples of beautiful work by professional photographers on the PhaseOne website, as well as on Nikon’s and Zeiss’s websites. These are great for showing the best possible results from the most highly regarded photographers, but it is hard to know from these gallery images what went into the shoots. What I found difficult to find were articles that compared DSLRs and medium format cameras by shooting something outside the range of normal technical tests, which are usually just a couple of distant buildings, a girl in the forest, and head shots of the camera salesmen at Photokina.


When I rode the train up to the PhaseOne dealer, I was fantasizing about getting some pretty amazing shots simply because I was using a PhaseOne. That said, I knew the possibility of that happening was remote. The D800 and Otus are an excellent combination and I had been using them for a year. Comparing that to an unfamiliar system automatically puts the PhaseOne at a disadvantage. Another problem is that the DSLR is much more useable in low light than the PhaseOne—or at least most medium format cameras, which operate best at 100 to 200 ISO (with 400 ISO the maximum). The IQ250 back I was using was different because it could go up to 6400 ISO. Despite this, I was thinking of the PhaseOne as a system that required studio lights, as opposed to the D800, which worked fine without them. I was planning on using a reflector and sunlight for the shoot, and had no room in my transportation for lighting gear. I hoped this wouldn’t compromise the PhaseOne too much, but that was what I had to work with so I’d just have to see how it turned out.

At the store, the salesman gave me a quick tour of the camera. During this short tutorial I shot a couple images of objects in the store. What I saw really surprised me: there were prominent green and magenta bands running along the edges of many white objects in the scene. Most of the Zeiss lens line have very little fringing problems, and the Otus has none. I literally hadn’t seen fringing for months because I have been using the Otus as my go-to lens. Even when I use other Zeiss lenses, like the ZA 135mm f/1.8, I rarely have fringing issues. Seeing fringing on the first couple of shots taken with the PhaseOne was disheartening, but on the other hand, the system I had in my hands was the same one used by the royal family’s photographer. There had to be a way around it.

Because of my concerns about the lighting and the lens, I was prepared for the test to go either way, but was rooting for the PhaseOne, if for no other reason but that it is always fun to discover a way to improve the quality of one’s images. It was a fairly dark day, so most of the shots were made with the camera mounted on a tripod.


Ergonomics… The 645DF+ felt great in my hands, the menus on the touchscreen were easy to understand and big buttons were easy to press without accidentally pushing something else (as I do more often than I like with the D800 and A7r). The optical viewfinder was like looking into the detachable Zacuto viewfinder I use on my Nikon, but integrated with the camera and brighter. The live view screen was very nice, slightly higher resolution than the LV on the D800, and most importantly, the IQ250 has the built-in ability to transmit the live view and preview photos to an iDevice. I tested this on my iPad and it worked very well, using the free app provided by PhaseOne, Capture Pilot. This app can also be used as a remote trigger for the camera. This functionality makes focus checking trivially easy compared to the D800 (and probably the D810 as well) because of the much larger iPad screen. Overall, I felt that the camera was easier to hold, to carry, and to use in some ways than the D800. The only exception to this are the aperture and shutter control dials, which are smaller and thinner than their Nikon counterparts. This isn’t a big deal, but I found them more difficult to find and use than on the D800, probably because I’m not used to them.
The case this camera came in was much bigger and heavier than it needed to be for a camera that felt to be about the same weight as the D800 + Otus. As for overall dimensions, they weren’t much different there either. If I were to get one of these, I’d probably opt for a backpack instead of the gorilla-proof case I was handed for the tryout.

Image quality… Overall, I liked several of the shots from both cameras. In all but one of the examples where I shot exactly the same subject with both cameras, I preferred the PhaseOne result. I shot the PhaseOne in aperture priority mode because I wanted to avoid an excessively shallow depth of field in shots with multiple actors. This worked against the PhaseOne because I was able to use much faster shutter speeds with the Nikon. I initially had the impression that the Schneider-Kreuznach lens was softer than the Otus because the images themselves were softer overall, but the slower shutter speeds almost certainly allowed enough motion to lose some sharpness compared to the Nikon.
Despite the slight softness to images shot with the PhaseOne, in all but one example where I shot the same scene with both cameras, I preferred the PhaseOne because of the superior colours and tonal range. Both camera/lens combinations produced nice images, but the colours that came out of the PhaseOne were noticeably stronger.

I’m not totally convinced that the PhaseOne is hands-down better than the Nikon/Otus combination, but am willing to give it the benefit of the doubt until I have the opportunity to test it again*. I do know that the colour from the PhaseOne system and richer tones are very appealing compared to the more limited range available in the Nikon system.

*Update: I have retested the Phase One system and answered some of the questions left with the previous shoot.

1) The colour differences between the two systems are partly attributable to having used Capture One to process the Phase One shots but Lightroom for the Nikon shots. Despite this, the greater dynamic range of the IQ250 over the D800 is obvious.

2) The CA problem with the SK lens is very real but goes away at higher f-stops. I did some shots of dark tree branches against the sun at f/2.8 (heavy fringing) and f/5 (no fringing) as a test. If shooting at less contrasty subjects, the bigger apertures can be used. The Otus remains the winner in this category.

3) The SK lens is very sharp when setup properly. It really doesn’t like low light situations, and ‘low light’ for the Phase One is a lot brighter than for the D800. I had been setting the Phase One to match the Nikon settings—a big mistake because medium format requires more light than a 35mm.

4) The Capture Pilot utility is really awesome to use. It helps get steadier shots, and allows high resolution exposure and focus checks in the field.

Below are some more of the images from the shoot (and at the end, a couple of bonus shots from the more recent test):

Brigands. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/6.3, 1/15 ISO 200


Dejeuner sur l’herbe (Luncheon on the grass). Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/2.8, 1/223 ISO 200

Renaissance battle_4

Thom. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/3.5, 1/111 ISO 200


Merlyn. Shot with a PhaseOne 645DF+ and Schneider Kreuznach 80mm LS f/2.8
Settings: f/9, 1/7 ISO 100

Merlyn 1

Merlyn. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/125 ISO 125

Merlyn 2

Unruffled. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/5.6, 1/100 ISO 1200


Sparring. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/7.1, 1/30 ISO 125


Triple portrait. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/4, 1/200 ISO 125

Triple portrait

Robin. Shot with a Nikon D800, Zeiss Otus 55mm f/1.4
Settings: f/3.5, 1/100 ISO 200

Robin at the window

The new test shots were made primarily to check CA and sharpness of the SK lens. All were shot with the 645 DF+, IQ250, and SK 80mm LS lens. Here they are:

Sunset fence 014

mirrored wetlands


Mar 172015


2014 in Twelve images

by Bjarke Ahlstrand

Hi Steve,

Another year has passed, and at least from my perspective 2014 was extremely busy. I fulfilled a dream of mine and opened a rock bar, Zeppelin (, + my very own photographic haven/store, One Of Many Cameras (, here in Copenhagen, where I live. The camera store, which deals with both new and 2nd hand stuff gave me even further possibilities to explore the photographic medium and although it hasn’t exactly cured my GAS, it helps that I can just borrow stuff from the shelves now and then :-)

I only shoot manual lenses as they fit my shooting style the best, and I spend most of my photography time on celluloid, expired chemistry and especially large format portraits, but that ol’ Leica M9-P of mine is still my favourite digital camera (since I can’t afford or justify a Monochrome, hehe), but I also adore the little MicroFourThirds camera which was given to me as a x-mas present by my One Of Many Cameras partner Daniel because of its portability, since the large format cameras are a bit bulky to drag around. My work can be seen here: and

Anyways, here goes — once again — 12 images, 12 cameras, 12 months – this time for the year 2014.


January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photograhic fibre paper used as a paper negative · ISO3

2014_01_8x10_scan_deardorff v2_270mm_boyer saphir paris f63_iso3_after

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photographic fibre paper used as a paper negative · ISO3

I’ve been working on a book/exhibition the last couple of years. It’s gonna be called “After” and will feature 130+ portraits of my girlfriend, all shot immediately after we’ve had sex. There will be no pornographic content or nudity but “raw” portraits that try to capture that very special moment just “after”… I went about it in a dogmatic way, so I decided that all had to be shot within a five minute time span and I would max make 3 exposures. It was very challenging as many of the shoots were rather trivial when it comes subject, and location of course, but I managed to use a great variety of cameras and now in the final editing stages of the book, I believe it turned out okay. The book will be published around May/June if everything goes as planned. For this particular shot, Katja laid still for 8 seconds while I captured the light.


February · Leica M9 · 50mm Summilux Asph @ f/2.8 · ISO200


Still love the Leica, still love rock ’n roll, and I still have a record label, so I actually managed to shoot quite a few album covers in 2014, this being one of them. With vinyl making a serious comeback it’s a joy to shoot band pictures again. The band is called Lucer and they play high-octane rock. Be sure to check them out on Spotify –– or even better, on vinyl.


March · Goecker Studio Camera · 270mm Dallmeyer 3B Petzval · Expired Ilford Multigrade photographic paper used as paper negative · ISO3

2014_03_8x10_paper negative scan__Goecker Studio Kamera_Dallmeyer 3B_iso3_Street

I bought an old wooden large format studio camera, dating back to 1913 and it came with a wonderful Dallmeyer Petzval from the 1860s’ so I decided to drag it outside our little camera store (which is also a studio) and test it out. Two teenagers were walking down the street, but I convinced to them to stand still for 1 second while I used my hand as a shutter. Notice the Petzval curve, it’s absolutely wonderful. Oh yeah, the logo of One Of Many Cameras is actually the Petzval lens design from 1840 – both my partner Daniel and I even got it tattooed, so I guess that lens is rather special to me.


April · Fuji GX680III · 125mm GX f/3.2 · Ilford Delta 100

Picture 521

Even though I love large format and the creative possibilities it gives regarding perspective and focus, it’s not exactly portable. Enter the Fuji GX680III, a high-end medium format camera from the final days of the professional analog era. It has a small bellow and therefore tilt-shit capabilities and you can cram 8 images on a 120-roll film, so economically speaking, it’s quite okay (compared to large format). You can shoot the camera handheld – and those Fujinon lenses — whauh. This one in particular, it’s perfect. My youngest clone was shot wide open at f/3.2. Love the bokeh.


May · Kodak DCS PRO SLR N · 55mm Nikkor f/1.2 · ISO160

2014_05_Kodak DCS PRO SLR N_55mm Nikkor f12_iso160_Mikkel Munch Fals

I don’t want to (re-)start the whole CCD vs. CMOS war, I’ll just conclude that you’ll find on the CCD-side when photographic civil war begins. I haven’t owned a DSLR since I sold my 5D Mark III and I swore I’d never go down that road again… But then I was presented with this Kodak beauty, the first full frame pro digital camera, which cost a fortune back when it was introduced, and having never shot Nikon glass before (!) I couldn’t resent the 55mm Nikkor f/1.2. The 3 included batteries last only 5 minutes each, the camera breaks down constantly, has many quirks and is hardly usable above ISO400… But that Kodak CCD sensor is absolutely wonderful… I get the same feeling as when I look at images from my Leica M9-P and Hasselblad H3D-39. If I’m working digital (and not doing video), I’ll definitely go for a CCD-camera.


June · Leica Monochrome · 50mm Apo-Summicron f/2 Asph · ISO320

2014_06_LeicaMonochrome_50apo Summicron_iso320_beach

Had the chance to spend a day with the APO-Summicron. Took it to the beach along with a Monochrome. Nice combo. Stupid price tag, though.


July · Leica M9–P · 35mm Summilux f/1.4 Asph FLE · ISO160

2014_07_LeicaM9P_35mm Summilux_ISO160_Barcelona

Took my two clones to Barcelona for our summer vacation, alongside a couple of Leica’s and the Fuji GX680 monster. I keep coming back to the Leica, it’s “like home” every time I shoot it. The swimming pool was nice, too.


August · Sinar P2 · 36cm Voigtländer f/4.5 · Impossible Silver Shade 8×10” Polaroid


Having a record label is nice because you get to meet some really cool people, in this case the Swiss noise-rockers Herod who performed here in Copenhagen, and stayed at my place for a couple of days. I dragged the boys to my attic alongside my Swiss 8×10” large format Sinar camera, and shot an 8×10” Polaroid polaroid. The lens was stopped down at f/5.6 (which is like f/1.4 in 35mm terms regarding depth of field), but with the help of the movements of the camera, I was able to get all 4 members (relatively) sharp.


September · Kodak Master View 8×10” · Rodenstock 210mm Sironar f/5.6 · Ilford Direct Positive Paper · ISO6

2014_09_8x10_directpositivepaper_Kodak master view_210_mm_sironar s_iso5_undergang

Another band photo, this time around it was the death metal act Undergang, who were about to embark on a 5 week US tour and needed a band photo for their upcoming LP, so of course we went to a cemetery. I brought an antique Kodak Master View 8×10” large format camera and some Direct Postive Paper, and I snapped this ghoulish portrait with the Rodenstock lens shot wide open. Again with the gigantic negatives (1 x 8×10″ negative = 1 roll of 35mm film), the depth of field is extremely shallow, only a couple of millimeters but that old Kodak large format camera with its bellowsmovements made it possible to get them all “pretty sharp”. I made the vocalist only show the white in his eyes for the second I exposed the Direct Positive Paper, which indeed is a fantastic medium when working with the large format, since it’s like a Polaroid (positive) and you can handle it under red/safe light which makes it much easier than the negatives.


October · Sinar P2 5×7” – 21cm Voigtlander Petzval · Expired Ilford photo paper

2014_10_5x7_Sinarp2_21cm_Voigtlander_iso2_when the silver runs dry

One Of Many portraits of my favourite subject(s) – my clone, Hjalte. Almost 16 years old, he looks nothing like the child I’ve been documenting for many years now, as he’s growing rapidly, physically as well as mentally. Teenagers are hard to shoot since they’re pretty demanding, and pretty pimple ridden, but I’ve been experimenting quite a bit with expired analog materials and decided to try to drag the absolutely last silver out of some photographic paper which expired the year Hjalte was born (1999). He sat still for around 4 seconds while I underexposed and then the negative laid in the (also expired) chemistry for around half and hour before it was fully developed. I love it, one of my favourite portraits of 2014.


November · Sony A7S · Leica 75mm Summilux f/1.4 · ISO1600

2014_11_SonyA7S_75 Summilux_iso1600_Ruth Storm

Yes, I love old cameras (and especially lenses) but of course I also embrace new technological wonders –– like the Sony A7S. Most of my work is shot at extremely low ISOs, but the A7S opened new doors for me with its extreme low light capabilities. I’ve shot portraits for record covers at ISO 100.000 (!) which look fine on print – and my Leica lenses all perform wonderful on that little Sony. And the ones that can be hard to focus on a rangefinder are easy to nail spot on with the focus peaking turned on. Sometimes I wish the A7S had just a few more pixels as 12mp isn’t a lot for print/pro work, but I use it mostly for videos anyway, and there it reigns supreme.


December · Panasonic DMC-GF5 · 1″ Taylor-Hobson f/1.9 · ISO1600

2014_12_Panasonic DMC-GF5_1inch Taylor-Hobson f19_iso1600_trine tree

Yeah, I prefer large format and medium format, and full frame digital sensors. But lately, I’ve come to love a small, not-very-special little Panasonic pocket camera (DMC-GF5) – due to one fact: its MicroFourThirds sensor and the c-mount adapter that came along the little x-mas presents. That combo opens totally new doors when it comes to lenses and look. Old 16mm film lenses (c-mount) shine on that little digital sensor (the ones that cover it that is) and since the camera is very cheap (and lenses, too) I bring it everywhere for snapshots that otherwise were reserved for my iPhone. Here you see the newest member of the Ahlstrand-clan, Trine The Cat, climbing unto a x-mas tree. Nothing fancy, just one of those “family shots”, but I really dig the look of that tiny 1960s 16mm film camera lens, which I just had CLA’ed by my friend, Professor Olsen (repair-guy at One Of Many Cameras).

That’s it. Enjoy.

Oct 142014

Fuji GX 617 panoramic camera

by Dirk Dom

Hi, all!

I want to share some shots made with my Fuji GX617 panoramic camera.


This monster, pictured here next to a Minox, yields 6 x 17 centimeter slides or negatives on 120 film, 4 images on a roll which you can blow up to insane dimensions. It all started in my photo club, where someone showed 1 meter big prints from Schotland. These landscapes were so incredibly detailed and rich they totally overwhelmed me, they hit me like lightning. They were taken with a Linhof 6×17 panoramic camera.

I wanted to do this, too, and started researching panoramic photography. The price of the 6×17 camera’s was so high, however, that I couldn’t possible buy one. The, in a local photo shop, this Fuji for sale. With a 90mm (90° image angle) and an 180mm (45° image angle) A search on the Net confirmed that this, with its interchangeable lenses and good viewfinder, was probably the best 6×17 camera. The price was good, too, 5,000 Euro’s! Impossible. Every time I drove by there, that camera sat there, just to annoy me. I had it taken out one more time, what a piece! In the end I couldn’t bear it anymore and I took out a bank loan.

In the photo club they had told me that finding compositions in the 1 by 3 aspect ratio was extremely difficult. I didn’t dare shoot the camera. After three months of hesitation I decided it was enough and I took it for a spin. All worked fine. That day the lid was off the pot, I shot all day, went to four locations. Then the moment of truth: got my slides back.I can tell you that absolutely nothing matches the impact of a sparkling 6×17 Velvia slide on the light table. The detail was insane. I can tell you I was hooked, then.

The 1×3 aspect ratio came very natural to me and soon I began to shoot worthwhile images. I ran into another limit: The images screamed for really big printing, at least two meters, and such a print, mounted, cost about 400 Euro’s. I got a few made, which were overwhelming, but when I tried to sell them, no one wanted them. First of all, the price (everyone buys posters at the IKEA for 6 Euro’s) and second, no one could hang such a monster print. I could hang one in my small home.

So, there I was, totally frustrated, with 60 mind-blowing images I couldn’t do anything with. Should I sell the camera? I decided on a moratorium of a year.

I found out after a year that I don’t need 2 meter big prints to enjoy the camera. Half meter images also show that there’s something different going on from your regular DSLR images. The detail and colors are much richer. So I started shooting the camera again. Technically, the camera is extremely basic: distance (no rangefinder), speed, opening, transport. It requires very strict discipline to shoot it. That make it a very enjoyable experience, because you’re in total control. The lenses are very, very sharp.

Well, enough talk, let’s see some images! All shots are from Antwerp, Belgium.

This is Antwerp, with the cruise ship Europa in front of it. I read in a local magazine it ‘d be in town for just one day and I went out to shoot it. The original slide is just not sharp enough to read the licence plates of the cars parked. Because the 2 minutes exposure you see no people. At 1PM the boat’s horn went off and a firework started. I had crossed a perimeter to do my shot, and a continuous rain of firework debris fell on me. I was afraid for my lens. I was too close to the firework to make decent images.

boot afgewerkt klein

That you make one image, complete, at exposure, is vastly advantageous to stitching in a DSLR. You can take action shots. One of my panorama’s is a flock of pigeons passing over at close distance.
This image I stood on the road, waited for a car coming to me, another coming from behind and exposed for 30 seconds.

Pano Gent.fff 001

This is the image of the fireworks of the inauguration of the MAS (Museum Aan de Stroom, museum at the river) I was at the other bank of the river, used the 180mm; To my amazement I was the only one there, which makes this shot unique.

vuurwerk afgewerkt lage res

I had set up, needing 2 minutes’ worth of exposure.

While exposing, a flash went off. A guy with a point and shoot. My exposure was ruined. I waited until he was gone and started over. Another flash. The guy had come back! Started over again, a third flash. The guy had come back again. I explained that he ruined my exposures and asked him to not to flash anymore. Without a word he turned away.

lange wapper afgewerkt klein

The petrochemical industry downtown. On the slide, you clearly see a crane cable two kilometers away.

petrochemie afgewerkt klein

The Antwerp cathedral. To make this shot, I went downtown five or six times to get the clear sky. Then I waited until the light was all balanced.

toren afgewerkt klein

This is a shot hyperfocally set. The cathedral tower could be a little sharper because of it, but still you see the cement bonding the stones together at the top.

toren met put afgewerkt klein



Sep 092014


Shooting with Film: My Rolleiflex Hy6 Mod 2 Experience

By Steve Huff

I will admit it right up front. I never ever shoot film anymore. As more time goes on, digital technology for imaging is getting better and better. Companies like Sony, Olympus and yes, EVEN LEICA are pushing the envelope in many ways from the groundbreaking Sony A7 series to the Olympus OMD series to the Leica Monochrom (A camera no other company dared to even attempt). Digital is starting to mature and we can do things today with digital technology that was not even imaginable back in the glory days of film. For example, can I shoot film at ISO 102,000 ISO and get a results I can use in a pinch? No way. Can a camera such as the Hy6, when shooting film,  give me the convenience of digital? NO WAY, never.

So then, why on earth would I even use this camera and shoot film? I call it romance, beauty, soul, and most of the things that digital usually does not get right. Analog is a different beast than digital in almost every way. The colors, the true B&W, the grain, the contrast and depth and when talking about Medium Format we are talking about a format that also has some magic associated with it.

My fave film of all time, Kodak Portra 160 – click for larger


Even so, the Rolleiflex Hy6, with a lens and film back and finder will set you back close to $10k. Yes, $10,000. With that in mind, remember than a Leica Monochrom camera with a decent lens will also set you back about $10k and it will only shoot B&W digital in the 35mm format. The Rollei can do B&W film, color film, and even digital if you splurge for a nice digital back. Add to that the size of the film. You will get much more “soul” with the MF rig over any 35mm rig. So price wise, it is up there with the other Niche products in the imaging world. Leica S at $30k, the Leica M at $8k, the Leica MM at $8k, all without lenses. So taking that into consideration, the price of the Rolleiflex Hy6 is about right. Especially considering that it is probably the most versatile Medium Format film/Digital camera made to date. It’s a true beauty in use and with its auto focus capabilities it was shooting faster than the Sigma DP Quattro I had on hand at the same time.

Using Ilford HP5 film with the Rolleiflex – click for larger 



In Use

This write-up is meant to be a short article about my time with the camera, not in any way a tech review. I find most of those boring anyway so instead I just want to chat about how I felt using the camera, the costs involved with it and the experience of shooting film again. The Hy6 Mod 2 is a large camera, especially when coming from 35mm cameras such as the Sony’s, the Leica’s and the Olympus’s of the world. The Hy6 is not a camera you will casually just carry around. It has a purpose, a meaning, a job to do. A camera such as this with the 80mm lens is really a portrait shooters dream camera. Auto Focus which is pretty fast and accurate (for MF) and a great ergonomic layout with a nice grip. The meter inside the eye level finder worked great as well. When I went out with the Hy6 I felt like I was a serious shooter and I got looks thrown at me like “what the hell is that guy shooting with”. It’s an impressive beast for sure but also a very functional beast.

The last time I shot medium format was when I reviewed the Fuji 670, and I adored that camera. It was slim, large and a true rangefinder. But for some reason, it was a totally different experience that shooting the Rolleiflex. It was lighter, and slower in use. It did not feel nearly as substantial in the build nor was it as bulletproof. The Hy6 is such a camera. It is built to a high standard, has all controls easily accessible and is a true photographers camera. It’s just large and a bit heavy, though nothing like the old school MF cameras of the 80’s which were like metal back-breaking bricks.

1st shot with HP5


and this one was in near darkness with Delta 3200 film – I LOVE Delta 3200 and always have


One thing that I thought would limit me when using this camera was LIGHT. With film, you have to use the film you have loaded and when I had Portra 160 loaded, any low light scenario was ruled out. With digital, you can go into any light and adjust your ISO settings in the camera. Easy. With film, you have to change your film when you want different sensitivity. Lucky for me, just as I finished up my roll of HP5, which is an ISO 400 film, I loaded in my Delta 3200 (which is an ISO 3200 film) and was able to shoot the image able in near darkness, even with the 2.8 aperture of the 80mm lens attached to the Hy6. The room was an old solitary confinement prison room from the old historic Yuma Territorial Prison. It smelled of urine, was creepy as hell and Debby was not too cozy inside. I asked her to kneel down and give me her serious face for a dark, moody but nice image. I thought the shot would be blurred or exposed wrong but when the scans came back from the lab I was very happy with the results from 95% of the images I shot.

Overall, when using the Hy6 I LOVED it and had a great time with it. It fit in one of my Wotancraft bags by itself and came out when I wanted a shot that I knew would be nice.

Again with Portra 160 out in Sedona (BTW, we have 2 seats left for the southwest workshop HERE and we will be in Sedona for this trip)





The Downsides to a camera like the Hy6

There are downsides to the Hy6 but image quality is not one of them. For me, I thoroughly enjoyed my time with the camera. I was able to shoot with it for two weeks and within that time frame I shot 5 rolls of medium format film, 12 exposures each. Out of those images only two had issues that were my fault. The rests were perfect, spot on with metering and the lens performed as it should. But with medium format film one has to consider the costs involved of using it. For me, 5 rolls of film (purchased from Amazon), processing at my local lab as well as scans from my local lab (low res) cost me around $106. So basically, for 60 images it cost me over $100. Sure, many will say “I process my own film” and others will say “I scan my own film”. Even so, processing color film is not something many people do these days. Even if you do your own, you still have to buy the film and buy the chemicals and materials needed to process your own. Then you need to buy a nice scanner. Then you need the hours upon hours it takes to scan and do your own tweaks. It’s expensive and time-consuming.

So for anyone considering film these days, think about the costs involved is using a lab, or the time involved if doing it yourself. As for me, I have NO spare time these days to do any processing or scanning so a lab was my only choice. Shooting 60 images on my digital would cost me nothing so when really looking at it in this light, digital is a bargain :) You still will not get that Analog tangible quality..the old school richness and feel, the reach out and touch it tonality and oh so delicious color. You will get close, and in many case you will get sharper and more details with digital but nothing can replicate the look of Medium Format film.

I see the Hy6 as a camera I would use a few times per year, for special occasions or when I wanted the 6X6 square format MF look. If this camera was $15k with a digital back, I would be all over it and would give up a Leica set to get it. But adding a digital back to this bad big will set you back around $30k and up. This is in addition to the camera cost itself!

So while there are loads of upsides to a camera like this, there are also downsides, depending on what you want to do with it and how much you would want to shoot. There is also no instant gratification with film. It took my lab a week to process and scan.

HP5 ISO 400 film


ISO 160 Portra


Wrapping it up

I sent back the Hy6 to Rolleiflex last week and wish I had it for one more week as I am going to shoot some Senior portraits next week. Would have been cool to do some creative shots with some nice film but I did not fink of it at the time. That right there is one of the occasions I would have loved to use this kind of camera for. They are few and far between for me but after browsing my images with this camera, on film, I have to say there is something special about them, even with silly subjects such as broken glass or an old abandoned building. I am a sucker for the square format and when I use it on digital as my aspect ratio it is never the same as a frame of Medium Format 6X6 film.

I really enjoyed the Rolleiflex and if it came inat $3500 I would buy one. At $10k, for me, it is a no go as I would not use it enough but for many this may be just what the doctor ordered. If you want medium format quality in a very versatile camera body that can do film or digital, that can shoot with autofocus and act like any modern-day camera and you do not mind shooting film with its costs and time involved, then the Hy6 may be just what you are looking for. For me, I would buy this over something like a Leica S camera because it is more versatile and I like the design better. With the Hy6 I can do film or digital and with a name like Rolleiflex, I would be shooting with a legend. The Hy6 also acts like any modern-day camera in regards to controls, settings, etc. It is all there on the side of the camera. Super easy to pick up and shoot. I did not even need the manual> i just loaded it, shot it, and it was all super easy without any confusion whatsoever. No long digital menus to drag through, just set it, forget it! Awesome.

You can buy the camera without a lens for $7900 at B&H Photo. They also have the accessories and digital backs for the camera. 

I have shot with only four medium format cameras in my life but this is my hands down favorite to date. If I was buying a MF camera today, this would be it.













Hello to all! For the past 5 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple. 

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Sep 062014

Just for fun: Rolleiflex Hy6 using film vs The Sigma DP Quattro

To those who have shot or do shoot Medium Format film or digital, you know the differences between those files and your run of the mill full frame of APS-C files. With Medium Format film or digital you get an amazing depth, richness and tangible quality to the files and photos whether that is in print or on screen.


Many times people will say that the Sigma DP series has a “Medium Format” quality but that can be a little misleading. For example, the latest and greatest Sigma DP Quattro was recently in my hands for 3 weeks to review. I reviewed it HERE and even I mentioned it had a medium format look and feel. But I was going by memory as it has been 4 years since I have shot a Medium Format camera (which I reviewed HERE).

Recently I had the pleasure of shooting with a Rolleiflex Hy6 Mod 2 camera and wow, that was quite the experience. From shooting, to feel, to control, to auto focus to QUALITY, this is the best MF camera I have ever shot with or even handled. It should be for $10k with lens and film back but the Rollei just may be the coolest medium format camera made today. At $10k it comes with a 6X6 film back but you can also add a digital back and have one bad ass setup.


I shot 5 rolls through the Hy6 for my review period and will post that within a week but for now I wanted to show two shots…one from the Rollei Hy6 using Portra 160 film and the 2nd with the Quattro. These are NOT meant to be technical comparison shots, but rather a look at the rendering of each. The Rollei is a low res lab scan and the Sigma is a resized file converted to JPEG. Even so, the depth, the richness and the magical quality is all there in the Medium Format shot and the Sigma appears off in color and lacks the depth and richness that the film shot provides.

The only area where the Sigma is really “medium format like” to me is in sharpness and detail, which it has loads of. But even with that, I prefer the MF shot by far. Take a look below and see for yourself. The MF shot was with an 80mm lens at f/2.8. The Sigma shot was also at 2.8 using the built in lens of the Quattro and shot in 1X1 mode to simulate 6X6. After looking at them side by side it appears digital still has a load of room for improvement in the quiet balance area. Film just nails it it seems. Then again, how long as film been around? Much longer than digital! I did not get a digital back to test with the Rollei but shooting it with film was a treat, even though a pricey one (cost of purchasing 5 rolls plus process and low res scan = $100 for 60 images). The ROllei auto focused FASTER than the Sigma by a little bit.

Click them for larger.

The Rolleiflex Hy6 Mod 2 with the 80mm 2.8 lens and Portra 160 film – low res lab scan. This is best appreciated on a large and well calibrated display. This one has the MF look and soul. Not uber sharp but nice color, great depth and contrast is about perfect.


Now the Sigma Quattro at f/2.8 – the color is off (a yellow tinge and there is much more DOF even using the same 2.8 aperture. It looks digital (and it is of course) and more flat but very sharp. 


Jul 222014

The new Hasselblad CFV-50c CMOS Digital Back. 


The new CFV-50c from Hasselblad. A 50 MP CMOS digital back with ISO up to 6400 for the iconic V system. Hasselblad is promising amazing IQ and colors in any light, which is unheard of when it comes to Medium Format as they have always been very limited in this area. While not cheap, the new CFV-50c is not nearly as expensive as I expected it to be, coming in at $14,900 US. Now yes, that is insanely expensive but I expected Hasselblad to come in with this at $25,000. With their Stellar and Lunar Sony bodies coming in at such insane prices, the thought of a full on Hasselblad NEW CMOS 50MP digital back for such an Iconic camera line had me thinking $25-$35k. So $15k, that is about the cost of a Leica M and a 1-2 lenses. ;) Add in a used V series camera setup with lens and you will have a classic, iconic and gorgeous modern day masterpiece. Old with the new. Modern meets classic. I love it. So who makes this sensor? Well, the one company who keeps pushing the limits..SONY. There are even rumors that Sony will be releasing a Medium Format fixed lens MIRRORLESS camera soon. ;) 

You know, there was a time when Hasselblad stood for many things including quality, precision, build, design, soul, magic and originality. Their classic V series of medium format film cameras have always been the gold standard for MF shooting. I have lusted over a 501CM camera for many years, and have only shot with one for one day of my life. It was a very nice experience. The negatives that came back from that camera were gorgeous as there really is nothing quite like a medium format negative. Rich, full of texture, full of soul and life. Using the camera was an exercise in slow, steady and using my brain. Looking through the finder was a very cool experience that felt natural to me.

Sadly, over the years the Hasselblad system started to fade as digital came into play and soon, many of these classic systems started to appear on e-bay for peanuts. Many dropped the system as they no longer used film. Some tried out the digital back that was released a while back, the CFV 50 (minus the C) with good results, but it was limited to ISO 800 and CCD.

This week, Hasselblad has launched the new CMOS digital back for the V system…

Lately it seems Hasselblad has been focusing their energy and time on silliness such as the Lunar and Stellar cameras, which are rebranded high prices Sony bodies that are now out of date. Many have lost faith in the once mighty Hasselblad, writing  them off as a company who would soon be history, or become a spoof of its once former self. Now it seems they are giving something back to all of those who own and use the classic V system. Well, not GIVING, but making it available…at a price.

YEP, this week Hasselblad has announced the CFV-50, which is a new digital medium format back that can be used on all classic V system cameras. Yes, that 501 you have in your closet? You can now add a state of the art digital back to it and use it once again, just as you did in the glory days of film. :) OMG, I so want one. In fact, I would love to have the system just as shown below. This is a new CMOS sensor guys, so much more usable than the CCD sensors in previous digital backs.

The stock image of the new CFV-50 on a 501CM. What a combo!! 


Unfortunately for me, I do not have a spare $20k or so lying around to create something like that but day. For me, something like what you see above is sort of a “Holy Grail” setup. Modern Medium Format Digital connected to the most gorgeous and classic medium format FILM camera ever made. It is a thing of beauty and while not a camera for daily use, it would be one for SPECIAL use. I can not wait to see examples that come from this beauty. Hasselblad will NOT be recreating the camera body of course , so you must have a classic V model to use the back. I think this may just drive up prices on the used market for them. You can see a list of compatible models HERE.

From Hasselblad CEO Ian Rawcliffeon the new CFV-50 Back:

“We have experienced a substantial resurgence of interest in our iconic V cameras – users love the traditional ergonomics and the unique appearance. Our research has shown that although we no longer manufacture V models, there is a big demand from our dedicated V System users who want to be able to continue to use their classic cameras but also desire access to our latest technology.”


See more at the Hasselblad site HERE.  Compatibility page is HERE and Planet V page is HERE. 

Tech Specs:

Sensor type: CMOS
Sensor size: 50 Mpixels (8272 x 6200 pixels)
Sensor dimensions: 43.8 x 32.9 mm
Image size: RAW 3FR capture 65 MB on average. Tiff 8 bit 154 MB
Capture rate: 1.5 capture/sec. 35 captures/ minute (based on a SanDisk Extreme UDMA7 120 MB/s)
Single shot
16 bit colour
ISO 100, 200, 400, 800, 1600, 3200 & 6400
Longest shutter speed: 12 minutes
Image storage: CF card type II (write speed >20 MB/sec) or tethered to Mac or PC
Color management: Hasselblad Natural Colour Solution – One generic profile
Storage capacity: On average 60 images on a 4GB CF card

Battery type: Sony™ InfoLithium L NP-F series
Colour display: 3.0 inch TFT type, 24 bit colour
Histogram feedback: Yes
IR filter: Mounted on sensor
Feedback: IAA – Instant Approval Architecture: provides acoustic and visual feedback
File format: Lossless compressed Hasselblad 3F RAW
Software: Phocus for Mac and PC (included)
3FR files are also supported directly in Apple and Adobe environments
Macintosh: OSX version 10.5 or later. PC: Windows XP, Vista, Windows 7 (32 and 64 bit), Windows 8
Camera support: Hasselblad V System cameras manufactured since 1957. 2000 series cameras and 201F with C lenses only. 202FA / 203FE and 205FCC camera models need a minor camera modification to use F/FE lenses. All other cameras with Hasselblad V interface.

Host connection type: FireWire 800 (IEEE1394b)
Battery capacity: Sony™ InfoLithium L, up to 8 hours of shooting capacity
Operating temperature: 0 – 45 °C / 32 – 113 °F
Dimensions: 90 x 92 x 57 mm [W x H x D]
Weight: 530 g (Excluding battery and CF card)
Package contents: Hasselblad CFV digital back with protective cover, adapter cables, rechargeable battery with charger, EL camera battery adapter, FireWire cable and 8 GB CF card. Focusing Screen (Split image / Micro Prism) with dual format markings.

Jan 312014

The Friday Film: The Rolleiflex 3.5F by Ibraar Hussain

This isn’t really a Gear Site, but, if people want to contribute stuff about gear then gear will be featured. To carry on the Gear tradition, I bought myself a precious little Gemstone of a camera.

For those interested in the Leica and rangefinder experience – I suggest you also look to the TLR experience and the Rolleiflex experience as it will give you a completely different feel and vision in your photography. Just owning a classic Rolleiflex is a pleasure in itself, and using one gives a feeling of excitement and productivity and the feel of it all being an event – even if the subject is your cat lounging around the sitting room!

There are many Rolleiflex TLR’s to choose from; Automat’s, Rolleicord’s, 2.8 Planar’s, Tele-Rolleiflexes and many special editions.

80TWIN PRINt.indd

The Rolleiflex is still being made by DHW Photo to this day, and is a work of art, with modern ground glass and super bright image – expensive, but cheaper than a Leica!

I bought myself a mark 1 Rolleiflex 3.5F – a Classic with a capital C and considered by many to be one of the best camera’s ever made.

A camera used by some of The Greats throughout the years and capturing some of the iconic photographs in history such as David Bailey, Richard Avedon, Robert Doisneu, Fritz hence, Eduard Boubat, Lee Miller, Diane Arbus, Robert Capa, Vivian Maie amongst many others.

And a Camera used by iconic movie stars and rock stars over the years .



Marilyn Monroe with a Rolleiflex (2)

Connery Behind The Lens

Parades End. Call Sheet #22


Celebrities with Their Vintage Cameras (32)


I’m not saying owning one will make one great or into a celebrity! But it’s apiece of history which is still a joy to use and can yield lovely results on par with The Best. I’m no expert on Rolleiflex TLR’s but I do know there are many user groups and lists of serial numbers. Buying a Rolleiflex of this type is an investment too.

The value will only go up (depending upon the condition of your Rolleiflex) and one can treasure it as one treasures a Rolex or collectors watch. Anyway, I bought mine with a Rollei bayonet II yellow Filter, lens cap and a Rolleinar II close up filter – a two piece filter with lenses for both viewing and taking lenses.

The close up filter is called the Rolleinar and comes in many different strengths. The Rolleinar I will enable you to shoot head shoulder shots with the 75mm f3.5 standard lens.

The Rolleinar II which I have will be face shots – or close-ups of other subjects.

I wanted a Rolleinar I but for some strange reason, the Bay II Rolleinar’s (along with ALL Bay II accessories) are 3 to 4 times as much as anything Bay I or III (Bay I for the Rolleicord Tessar and Bay III for the f2.8 80mm Planar) so I picked up a bargain Rolleinar II.

IMG_4652 IMG_4628

If you have never used a TLR before, it’s easy peasy to use. Flip open the waist level finder to look into a big image of the square scene. Focus using the knob on the left, wind the lever forward and then back, and trip the shutter using the release on the bottom right front of the camera.

It is so easy and so straight forward without any settings getting in the way.

Mine is metered, the array of glass bulbs below the Rolleflex logo is where the selenium meter captures the light. I didm;t bother with the inbuilt meter and just used Light Meter App on my iPhone for the one roll I shot with this camera. The dials at the front are for Shutter speed and Aperture.

I took mine along to my favourite place – Brecon in Wales a few weeks back, and snapped a roll of 10 exposures at the ruins at Tretower Castle. A lovely desolate place in the midst of the Beacons. I shot a roll of Rollei Pan 25. A very slow 25 ISO BW Film which is basically Agfapan 25 rebranded.

I developed the roll in an Agfa Rondinax 60 daylight Tank – great idea, if a bit temperamental, with Rodinal developer. I Scanned using an Epson 4990 flatbed and used Photoshop CS4 to process.

The negatives were lovely with high contrast and rich blacks, and I was pleased with every shot (I wasted 2 by exposing them accidentally in the Rondinax while loading).

I include a selection of snaps here (minus family snaps of me and the Missus).

I have owned a TLR before: MPP Microcord TLR reviewed here on But this was my first Rolleiflex TLR and it is a keeper and a pleasure to use and to own.

All photo’s of this first test roll.

Rolleiflex 3.5F Mk 1.

Carl Zeiss 75mm f3.5 Planar

Rollei Yellow Filter

Rollei Pan 25


Rondinax 60 daylight tank.

castle tower Untitled-1 Untitled-2 Walls walls2


Jan 222014

2013 in just twelve images on different formats 

by Bjarke Ahlstrand

Last year I did a – one year – 2012: 12 months, 12 images, 12 cameras / lenses in total guest report for Steve. It was tough to make, it’s really hard to narrow down a big production to just one image per month, but very rewarding as well.

So I decided to do the same this time around. Those familiar with my work, either here at Steve’s site or my own will notice that I’ve been drifting slightly towards film and large format recently. The slow process has been healthy for me mentally and photographically speaking. I shoot less images, but work harder for each one, and it’s a thrill to learn new skills — especially ones that aren’t linked to Photoshop.

2013 was a good year for me in many ways, and also challenging. Sometimes I feel I’m balancing between being creative and obsessed, both when it comes to shooting portraits as well as using new cameras and lenses, hehehe. I still treasure my Leica M9-P more than anything else, but the artistic freedom (and limits) the large format view cameras give are very inspiring. Nowadays, whenever I grab a digital camera, I miss the selective focus / shallow depth of field while shooting large format extremely open, but also the tonality and amount of detail that I get from even 100-year-old non-coated lenses. An 8×10″ is approximately 60 times digital full frame, and a Swiss built large format Sinar camera, be it 60 years or 6 years old, is at east 60 times more fun to operate than a modern Canon/Nikon.

Well, here are 12 images, one for each month, all shot on different cameras, formats and lenses.


FILE: 1 – January – 8×10 – silver shade polaroid

Miss Roxy – Arca Swiss 8×10″ – 305 mm Kodak Portrait Lens (ca. 1930) @ f/4.5 – Silver Shade Polaroid

1 - january - 8x10 - silver shade polaroid

The Impossible Project revived the 8×10″ Polaroid, when they purchased the last production machine from the bankrupt Polaroid plant in Mass, USA, and had it moved to their European headquarters in Holland. The Silver Shade Polaroid, the only one being made in the 8×10″ large format size, isn’t exactly black and white, but still nice to work with, as long as you can live with chemical defects, and manage to get your hands on an antique Polaroid processor which is need to pair the 8×10″ negative with the positive (large format doesn’t work like the old peel-apart Polaroid cameras and film!). Miss Roxy, my assistant posed for this image, which was shot with quite a few tilt and shifts on a 1970s Arca Swiss camera, and the lens mounted on the camera is a wonderful, wonderful 1930s soft focus Kodak Portrait Lens.


FILE: 2 – February – Hasselblad h3d

Zombieboy – Hasselblad H3D-39 – 150 mm Fujinon HC @ f/5.6

2 - february - hasselblad h3d

When it comes to sharpness, tonality, color and file quality, no digital camera beats the 39 megapixels Hasselblad medium format monster. And yes, I’ve shot the Nikon D800, but it doesn’t even come closer, and neither do the lenses. The Hassy is slow and heavy and really suffers if you go past ISO200, but if you treat it like a film camera, it works excellent, and the resolution it offers is utterly amazing even though it’s a few years old now.

 FILE: 3 – march – 4×5 – sinar polaroid

Anker – Sinar P2 4×5″ – 240 mm unknown 1860s Petzval lens @ f/3.8 – Expired Fuji Polaroid

3 - march - 4x5 - sinar polaroid

I love the fast lenses! Everyone who’s ever shot a manual f/1 lens, like the Noctilux, Nokton or Sonnetar, knows how difficult it is to achieve a somewhat precise focus. But when you move to the large format, in this case, the 4×5″ film format, things get waaaaay more difficult control — and if your lenses were made in 1860 instead of 1960, you add to the difficulty aspects, but the reward is equally bigger, if you nail it. And even though the output material is an old expired Fuji Polaroid, the depth of field and detail is amazing. It was shot a night-time, using only my Ikea table lamp as the light source — and two small light candles which I place behind him.


FILE: 4 – april – 5×7 – kodak 2b wetplate collodion berlin

Alex – Kodak 2B 5×7″ – 150 mm Rapid Rectilinear @ f/8 (ca 1890) – wetplate collodion

4 - april - 5x7 - kodak 2b wetplate collodion berlin

Mmmmmhhhh, the smell of ether :-) When I had a chance to join a wetplate collodion seminar in Berlin, held by American David Puntel, I simply had to attend. What a fine (and difficult) process. I’m sure most of you have heard or read about it elsewhere, so I won’t go into the tech/chemical aspects, but just recommend everyone into photography to try the 1850-1851 photography process, which is very rewarding. It sharpens your senses, and you really consider, plan and compose your image, before pressing the shut… ehh, correct that, you don’t use a shutter for this, because the old lenses have none, and you need a lot of (day)light. You just remove the darkslide, take off the lens cap, and let the subject, in this case animation director, Alex Brüel Flagstad, sit absolutely still for 14 seconds. This was a so-called half-plate which is a tiny bit smaller than 4×5″. Notice the silver nitrate on my fingers. It took months before it disappeared.

FILE: 5 – may – Leica m9-p 35 summicron

Assistant+Artist shot by oldest clone – Leica M9-P – 35 mm Summicron @f/2 (1st version, anno 1964)

5 - may - Leica m9-p 35 summicron

A rare shot of me in action. I am placed one the right with the dark cloth on my head, while planning a 4×5″ Ektachrome dias portrait shoot. My oldest son, Hjalte, shot this behind the scenes photo with the Leica M9-P and an old 35 mm Summicron that I’d just purchased from conflict photographer Jan Grarup, whom I guess is the only real documentary/war professional who actually shoot with Leica for a living. Jan exchanged his old glass in favor for the new Voigtländers, so I got his old 35 mm Summicron. The first version of the classic lens really shines on the M9-P, which is still my all-time favourite digital camera, due to portability and quality (as long as you don’t enter the 640+ iso’s, hehe) and not least lenses, lenses, lenses.


FILE: 6 – june – leica m typ240 apo-summicron

Katja naturelle – Leica M Typ240 – 50 mm Apo-Summicron Asph @ f/2

6 - june - leica m typ240 apo-summicron

I don’t have a Typ240, I just borrowed one along with the new 50 mm Apo-Summicron Asph for a day. With my love of cameras, I have of course considered the Typ240 many times, but every time I hold one, it just doesn’t feel like my kind of camera. Can’t exactly say why, and I know it beats my older M9-P technically speaking, I just think the CCD sensor of the old Leica renders better/differently (at lower ISOs). The new 50 mm Apo-Summicron, on the other hand, whauuuuh, that one would be a nice addition to my collection of Leica 50’s (Noctilux Asph, Summilux Asph, Sonnetar, Jupiter-3, Summitar, Summar), but the price tag… well, I guess I’d rather buy 10 antique Petzval lenses for my large format cameras… Or a Monochorme. But it sure is nice, resolution wise almost matching the medium format Schneider Kreuznach, Rodenstock and Fujinon HC lenses, just so much smaller. This image is straight out of camera, no adjustments, and wide open @ f/2.

FILE: 7 – july – 8×10 – Dallmeyer 2A Petzval f4 – Fuji Velvia 50

Katja Nun – Sinar P2 8×10″ – 300 mm Dallmeyer Petzval 2B (ca 1870) @ f/3.8- Fuji Velvia 50

7 - july - 8x10 - Dallmeyer 2A Petzval f4 - Fuji Velvia 50

Same subject as before, my girlfriend Katja, only this time around she was shot on a 140 year old Dallmeyer Petzval lens. The Petzval lenses are famous for their swirliness around the edge and utter sharpness in the center. They’re extremely fast (f/3.8 – f/4 on large format is like f/1 on kleinbild 35 mm in-depth of field terms, and if you tilt-shift the camera it’s even more extreme). I shot this on an old, expired 8×10″ Velvio 50ISO dias in the very last evening light, and she had to sit still for half a second. With the light passing and time it takes to re-focus, load the film holder (which only holds two images, one on each side), removing the darkslide and wait for the camera to stand still, you only have one chance, so you often miss a shot. Especially sharpness wise as the depth of field is extremely small. But not this time around. Of course what you see here is a low resolution file, but the original 8×10″ positive – and scanned file amazes me. If only 8×10″ dias weren’t so tough to come by (and expensive) this would be my preferred medium. But hopefully you get a glimpse of the sharpness and bokeh this old lens produces…

FILE: 8 – may – 4×5 – Linhof 135 mm

Viking Viggo – Linhof Technika IV 4×5″ – 135 mm Symmar @ f/5.6 – Ilford Delta 100

Picture 211

Now and then it’s nice to go offline. Away from mails, text messages, facebook, hell — even! Especially if you have kids who are always online, and addicted to it. So this summer, my clones (ages 14 and 9) and I spent one weekend as vikings at a historic “reservation”. The offspring agreed to leave every electronic device at home, as long as I did the same. So I bought my Linhof Technika IV and 5 filmholders, so I would be able to shoot maximum 10 images through out a whole week. It turned out to be somewhat of a challenge, as there were many nice photo opportunities and, for once, I had a lot of time on my hands. But I guess the slow-photography-dogma was therapeutic to me, and when I got home and developed the ten sheets of film, I was thrilled that 7 out of 10 turned out very well. This one is my favorite. I was chopping wood but discovered that Viggo was playing with a kitten behind a tent, so I located the Linhof, guessed the light (1/8th of a second at f/5.6 on a Ilford Delta 100 sheet film), called his name and pressed the shutter. I adore the old school documentary-ish vibe it has to it. This is film when it’s best, and I couldn’t have done something with this tonality had it been a digital camera. Playing viking for a whole week, I sure missed my Leica, but the large format “portable” Linhof proved to be a worthy companion (it was my first time using the German 1960s mechanical metal marvel — the Leica of large format! It’s extremely well-built, like a Leica).

FILE: 9 – september – leica monochrome 50 mm sonnetar f1

Mrs Madsen On The Roof – Leica Monochrome – 50 mm MS-Optical Sonnetar @ f/1.1

9 - september - leica monochrome 50 mm sonnetar f1

I adore the Monochrome, and I wish I owned one. Every time I borrow one, I love and loathe it at the same time. It’s so extravagantly priced and immensely simple, but it just works — especially with old lenses. Or old lens designs, as is the case with this crazy handmade Japanese lens, the Sonnetar, based on the Sonnar design, but taken to extremes; both size wise and in aperture terms. Wide open its f/1.1, a little hard to handle, but produces dreamy images with out of this world background bokeh (it’s after all made in Japan). I don’t think Steve has had a review or guest report with images taken with this lens, which I bought directly from Japan earlier this year, but if there’s a demand for it, I might do a small review and supply some samples (it handles color images very well as well). It’s very cheap compared to the Noctilux, and performs way, way, way better than the horrible Cosina (Voigtländer) Nokton f/1.1.

FILE: 10 – october – 8×10 – direct_positive_paper

Afghan Princess – Sinar P2 5×7″ – 360 mm Voigtländer Heliar (ca anno 1903) @ f/4.5 – Ilford Direct Positive Paper

10 - october - 5x7 - direct_positive_paper 

I often shoot paper negatives on large format. It’s a cheap way of testing new lenses (paper is way cheaper than negatives), but you always have to either make contact prints in the dark room or scan it and invert it Photoshop. Enter the very nice Ilford Direct Positive Paper, which is sort of a mixture of classic photo paper and polaroid. You shoot it in your 4×5″, 5×7″ or 8×10″ film holder, and when you develop it (in paper chemicals – and under red light) it transforms from a negative to a positive. A bit like wet plate collodion, except this is far easier and less dangerous, chemically speaking. So I’d recommend this to everyone shooting large format, as it’s very pleasing to see the result directly after you’ve shot your image. In this case I did a portrait of an Afghan (refugee) princess with a fantastic 110 year old 36 cm / 360 mm Voigtländer Heliar portrait lens, which even survived a fire some ten years ago and has cement between the elements! Those old Voigtländer lensus unlike the new Cosina-branded ones for Leicas and micro 4/3s are very well made, and perform excellently, even one hundred years are they were made. The Direct Posistive Paper is rated somewhere in between ISO1 and ISO3 and is most suited for pinhole cameras, as it’s very contrasty, but I think it’s nice for portraits as well, as long as you learn to balance your light a bit. For this I used a flash, or was it three ProFoto generators :-?

FILE: 11 – november – 1913 goecker studio wood camera expired 809 polaroid

Jesper – Goecker Wooden Studio Camera (1913) 8×10″ – Dallmeyer 3B 300 mm Portrait Lens @ f/4 – Expired (1995) 809 Polaroid

11 - november - 1913 goecker studio wood camera expired 809 polaroid

I buy a lot of old gear, and I always appreciate spending time with the old time pros or collectors from whom I get my gear. In this case, I bought some old Linhof cameras (4×5″ and 5×7″) from an old master about to retire. He had been a pro for 45 years (!), and never went digital. In his hay days he developed 2000 5×7″ prints every day! Both color and b&w. He also had an old (dating back to 1913) wooden studio camera in his studio and I immediately fell in love with the old beauty. A 100 year old camera, which still works like a dream. It was equipped with a gigantic Petzval-design portrait lens, the Dallmeyer 3B. Neither camera nor lens had any shutter, which – unless you shoot wetplate or paper negatives – actually can be somewhat of a problem due to the (short) exposure times. But fortunately the old pro found a box of old 8×10″ 809 Polaroid’s, a film I’d never shot before, which expired back in 1995. He doubted I could get anything out of the remaining 4 polaroid’s in the box, but I did. This image was shot only with the light from my living room lamp, using my HAND as a shutter for approximately one second. I absolutely love the final result – what you see here is a plain scan of the image I shot. Notice the text lines next to his face – they come from the “negative condom” or protection sheet that the polaroid’s were wrapped in. Somehow, during the 18 since (since expiration date) some of the text managed to creep unto the negative. Pure light magic.

FILE: 12 – december – canon 5d mark iii

Teen Clone – Canon EOS 5D Mark II – Canon 24-50 mm II @ f/4

12 - december - canon 5d mark iii 

My oldest clone never wants to be photographed because he’s 1) a teenager 2) thinks his father is embarrassing 3) doesn’t like cameras or photography 4) has braces and pimples all over his face — BUT — he also needed to give his mother, my ex-wife, something for x-mas, so he bought a frame, and asked if I would do a portrait. I did two, actually, an 8×10″ analogue, but then I snapped a test shot with my Canon, and it turned out best. Yes, that’s right. I do digital light metering tests before using precious sheet film / polaroids! I practically never use the Canon camera, as it’s big and has no personality and uses auto focus zoom lenses, hahaha. Well, snobbing aside, its video capabilities talk for them selves, but it is of course the 5D Mark III is a very capable professional tool, very rarely failing in any way. But I still prefer an old Leica, Linhof or an old wooden studio camera :-)

I guess that concludes my 2013 in just twelve images on different formats, cameras and lenses.

Perhaps I should mention, that I’m in the process of my building my own 20×24″ ultra large format camera, so perhaps you’ll see an image from that alongside a Minox next year, hehe.



Sep 242013
Scotland with the Mamiya 7
by Brett Price
Hey Steve,
I thought I would share a few photos and my experience with another rangefinder I had the pleasure of borrowing from a friend for my trip. Thanks again for creating a place where people can do this. I’ve had 3 other posts on your site, all of which highlight my experience with different rangefinder cameras and systems. I thought it would be good to post another :)
I recently did a 10 day trip across the U.K. with my girlfriend. I brought my Leica M7 w/ 50lux ASPH, (I wrote about it also here )  Hasselblad Xpan (I wrote about it also here ) and the Mamiya 7 w/ 80mm f4 that I borrowed from a friend. My normal 6×7 camera is the Pentax 67ii, which I decided not to bring due to the sheer size and weight. It is a truly massive camera and I went this whole trip out of one bag so every pound I could save counts. I was at first resistant to this… I love bokeh and out of focus qualities to cameras and the Pentax has the fastest lens for 6×7 that exists, the SMC 105mm f2.4. It is a fabulous portrait lens that melts backgrounds like butter not unlike the Noctilux. But 2 days into the trip, I didn’t miss the extra weight…
The great thing about the Mamiya 7 is the weight and usability. It’s not the smallest camera but its footprint against 2 other common 6×7 cameras, the Pentax 67 and the Mamiya RZ, makes it look like a olympus pen in comparison. The image quality and sharpness is superb, it could easily be the sharpest camera system I’ve ever shot with. The predecessor to this camera was the Mamiya 6, which allowed the camera to collapse into itself to make it even smaller to carry. This was such a great design its a real shame that Mamiya didn’t incorporate it into the mamiya 7. The other drawback is the lens speed. f4 is as fast as you’re going to get on any of the available lenses which can be frustrating at times when the light is going down. I can only speak to the 80mm but I’ve heard that almost all of the other lenses are just as good in terms of their performance.
I had never been to Europe before and I have to say that I suffered a bit from carrying 3 cameras with me. Before I left I couldn’t make up my mind as to which one I could leave so I just took all 3. I honestly wish I would have left one of them behind. Probably the Xpan although I really love some of the photos I got with it. One lesson I constantly forget is that you really only need 1 camera most of the time. If I had just brought my Leica alone I would have made it work and been able to get great photos with it and I probably would have never missed using anything else but alas, that is not how my brain works all the time and sometimes I make things harder on myself. It’s a mistake I’m sure ill make and pay for again and again.
Overall the trip was great. Scotland is just as beautiful as I always imagined it would be and the people we met while there were some of the kindest I’ve come across. I think my favorite place was St. Andrews, a small little coastal town north of Edinburgh which is probably only know due to the golf course that its famous for. It was the only place out of anywhere we went that had almost no tourism, it felt like we had it to ourselves and for a photographer that is heaven.
As far as the other locations, there are some shots from Loch Lomond, and Beachy Head, UK.
All images were shot on Kodak Portra 400 or 800, Fuji Superia 400, or Kodak Tri-X and scanned using the Fuji Frontier or Noritsu Scanner at my local lab.
I constantly post to my tumblr or my website if you would like to see more. Thanks for letting me share with you guys again. Happy shooting.
Brett Price
Feb 212013


Shooting Medium Format alongside Leica M for Travel and Documentary Photography

by Pascal Vossen

Hi Steve, thank you for your contribution to the photographic community and giving me the chance to ventilate my thoughts to other photographers!

Shooting medium format alongside 35mm format is what I did during my latest trip to Sri Lanka and it turned out really well for me. I enjoyed it a lot and it made sense to me before I left, during shooting and afterwards when I looked at the results. The only ‘regret’ I got is that I didn’t go bigger in film size. Still though, the Leica M was and will remain to be my main travel and documentary camera. Let me first tell you why, before I move on to the medium format part;

Photographing with a Leica M is special. I don’t have to explain that to someone who handled a Leica M before, but to the photographer who didn’t. It’s a camera with a magic feel, handling and character to it. It gives you the best of 35mm in a small and intuitive package. You don’t feel like you are getting blocked off to what is happening around you as soon as you bring the camera to your eye. The design of the Leica M, being a rangefinder camera (i.e. with a separate optical viewfinder), will allow you to stay in contact with what is happening around you. You never loose focus on your subject. You see everything. Notice the light, meter, frame, focus, reframe, anticipate and shoot your image. Its a fast process that always allows you to stay in control. Rangefinder focusing is imo also the most accurate way of focusing, since you don’t have to rely on an auto focus system that might fail. You are in control, you decide where you put the focus. This means that you know exactly where your focus point is. Is this off, then you failed and not the camera.

Leica M7 | 28mm | Portra 400 | Polonaruwa.


Leica M7 | 50mm | Portra 400@800 | Red Mosque, Colombo.


Because of its construction, the fact that it is a rangefinder and thus not has a mirror like a DSLR, the Leica M is compact and elegant. It is without a doubt the most beautiful camera I will ever own. The first time I tried one myself I noticed by its reassuring weight that this thing is build to last. Furthermore, it does not scream for attention and gives most people the impression that you are carrying an ‘old-timer’ around. Yes, sometimes that’s true, but its a very competent ‘old-timer’. But then again even the 2013 Leica M (type 240) still looks like the camera Leica build 30,40 years ago. That is partly the beauty of it and gives its user the freedom to walk around without drawing too much attention to themselves. Even the small time street criminal would more often go for a larger looking plastic DSLR from e.g. one of the Japanese brands, because they think you are holding a worthless old camera that is not worth stealing. If I however go on a trip where I suspect to end up in more dodgy areas I would maybe tape off the ‘Leica’ sign and put some more tape on it to make it look broken, just to make sure. I don’t care what it looks like when I am photographing (I do when its on the shelf ;)). The purpose of having this camera is to be able to get the shots I wouldn’t get with another camera. It is inconspicuous and enables the photographer to get really close without getting noticed. Even the shutter won’t give away your presence when you are photographing with an analog M, since it a cloth shutter and therefore near silent. I have found the digital Leica M (e.g. M8.2 that I also shoot with) in ‘discreet’ mode also very silent until you take your finger of the shutter button and the shutter re-cocks. Prepare yourself to be notices or walk away first.

Leica M7 | 50mm | Portra 400@800 | Temple of the Holy Tooth, Kandy.


Leica M7 | 50mm | Portra 400@800 | Temple of the Holy Tooth, Kandy.


It is my opinion that photographing with a Leica M stimulates you as a photographer to take pictures in a more intelligent way. This has partly to do with the way you frame your images through the viewfinder. The frame lines give you the possibility to anticipate and be in control of the moment. Furthermore, the typical rangefinder character and lenses (prime lenses, mostly ‘wide angle’ to ‘normal’ focal length) force you to come close or be more creative. These are all reasons why the leica M is my main choice for shooting travel and documentary photography.

Leica M7 | 50mm | Portra 400 | Kandy.


Leica M7 | 28mm | Portra 400 | Colombo.


So what made me bring along a medium format camera and why did I think it was a great combination? Let me say this first; Before I left for Sri Lanka I figured out that too many options is no good! I planned on limiting myself to two lenses for the Leica M, the Summicron 28mm F2 for wide angle landscape and environmental portraits and the Summilux 50mm F1.4 ASPH for shots/subjects that are better suited with a normal focal length or less depth of field. But then I threw in a Voigtländer 15mm heliar! I forgive myself since I got some good shots with it.

Then I had the choice of leaving it the way it was, which is a really light travel setup, or fill the bag (i.e. a Billingham Hadley Pro) up with a medium format camera + one standard lens for portrait and landscape. Reasoning behind this was my intention to take close-up portraits and high resolution landscapes. A larger negative means you can capture more information, details and you gain quite a bit of dynamic range (that’s even more true when its digital imo). This and the larger control in depth of field all add to the look of medium format. Nevertheless, the obvious image quality gain was not the surprising part. It was mostly the ease and the way of handling both cameras alongside which I found to be great.

A standard part of my day would be that I would ask my driver to drop me at the beginning of a town/village/city on the way and pick me up a few hours later on the other side. I walked, explored, observed and talked a lot to people. When I saw something interesting I would normally have my Leica M7 in my hand, approach my subject and photograph my subject from the intended angle in the most natural way. This often required me to get pretty close without disturbing them with what they were doing at that particular moment. Would they have noticed me and stopped what they were doing then the image would have been lost. This is definitely important in countries like Sri Lanka where people don’t mind to be photographed and gladly pose with a smile when they notice you. I don’t want that. At least not when its not intended as a portrait. You could consider this ‘phase one’ in the approach to my subject.

Leica M7 | 28mm | Portra 400 | Dambulla.


‘Phase two’ would be approaching my subject for a short chat, making him or her feel comfortable and then ask them if I can take their portrait. If you photograph people in this way you set yourself apart from the average tourist that just snaps away at them and then walks away without saying anything. It really is more or a social and respectable thing to do and you will notice that you will gain a bit of their trust. Just enough to get close enough for an intimate and well-composed portrait.

Contax 645 | Zeiss T* 80mm F2 | Portra 400 | Dambulla.


If you use digital you show the image to them, which could lead to fun reactions and even more photos, or you give them a chance to hand over an email address (if they have that) so you can send them the picture you took of them upon arrival at home. For exactly these kinds of shots I would grab for the medium format camera. I have introduced myself and my intentions to them and I can now take the tool that gives me the largest IQ. Handling the cameras together was great since I could easily tuck away my Leica M and take out the medium format SLR (I used a Contax 645 + 80mm F2). They fitted comfortably in my Billingham Hadley Pro bag, which is not a gigantic bag. It has great padding and with its flat shape it fits perfectly to your body. Another great advantage was that I didn’t have to fumble around and switch lenses on my Leica M the whole time. Switching lenses is a process I find annoying and a little tricky when traveling to dusty and humid places.

So, to sum up what I found great about this setup is;

-Inconspicuousness and intuitive handling with the Leica M

-Advantage of higher IQ from a larger negative (6×4,5> or sensor a-like) when needed.

-It is still a fairly compact setup (Leica M, two lenses and a MF camera) and packs well in a medium sized camera bag (most Medium Format cameras are actually not that big if you think about it).

-It avoids that you have to change lenses when you want to take a portrait or landscape (if you are comfortable using one lens on the medium format camera)

Some more medium format examples:

Contax 645 | Zeiss T* 80mm F2 | Portra 400 | View from Lipton Seat, Haputale.


Contax 645 | Zeiss T* 80mm F2 | Portra 400 | Kandy Bride, Kandy.


Contax 645 | Zeiss T* 80mm F2 | Provia 400X | Near Adams Peak.


Contax 645 | Zeiss T* 80mm F2 | Portra 400 | Mihintale.


Contax 645 | Zeiss T* 80mm F2 | Acros 100 | Galle.


I have found there to only be one possible downside and one ‘regret’ to this all. Downside was that you would have to bring two different formats of film and load two different cameras (if not one or both are digital). The regret was in a way that I didn’t bring a MF camera with a larger negative. That would have been even better. Thus, in the future the MF camera alongside my Leica M will be either a Mamiya 7 or a MF DSLR (Phase One or Hasselblad) depending on the destination, subject/project or way of shooting.

All images are taken in Sri Lanka and the whole series can be viewed on my portfolio (


Thank you for reading!

Pascal Vossen


Feb 012013


Using the Hasselblad 200 FC/M for Street Photography by Jerry Bei

“UFO” Kodak Ektar 100


Hi Steve:

I am a street photographer based in Sydney and I have a strong passion for photography in general. I used the Leica M9 and MP as my main tools for street photography in the past couple of years but recently decided to acquire something different. The temptation of medium format have always been there but I could not justify the cost of digital medium format cameras, at least for now.

Hasselblad has always been my dream medium format camera and luckily I got the chance to buy a Hasselblad 2000FC/M camera body with a A12 magazine at a very reasonable price that got me started into medium format. The world of medium format film photography was new to me so I had to learn everything from the start. I got a grasp of how the Hasselblad V system works very quickly since I had quite a bit of experience shooting film before.

“J&M” Fuji Pro400H


First thing I noticed when holding the camera is its superb build quality, I have held many Leica cameras before but this thing is different, it is built like a tank; heavy and solid. The Hasselblad 2000FC/M with a lens attached is significantly heavier than my Leica M9 with a 50 Summilux ASPH combo but still lighter than a full-frame DSLR setup.

“Black Riders” Ilford HP5+

Black Riders

The viewfinder on the Hasselblad V system is like nothing else I have experienced, big and beautiful. It is almost like a live-view 3 inch LCD screen in the modern days but even better since it is all optical rather than electronic. Viewing through the viewfinder is a pleasure and truly a treat to eyes. I have upgraded the original stock viewscreen to a even brighter Accute Matte D screen that helps to achieve faster and more accurate focusing for street photography.

The Hasselblad V system is equipped with a waist-level viewfinder and it is perfect for street photography. You can simply hold the camera at your waist aimed at your subject and most people don’t even know that you are taking a picture. It’s discreteness is perfect for the streets. The shutter click sound is no where as quite as a leaf shutter or Leica quietness but it is still a pleasure to hear the mirror flipping when the shutter fires.

“Circus Lady” Kodak Portra 400

Circus Lady

“Gossip Girls” Kodak Portra 400

Gossip Girls

One of the big advantage of the Hasselblad system over other medium format film systems is its inter-changeable backs, which allows swap between different films on the go. There are several different types of film magazines available that can shoot different number of exposures. The most common is the A12 magazine, which allows photographers to shoot 12 frames of 6×6 exposures of 120mm film. You simply insert the dark slide to remove the film back and apply another back loaded with the film you desire. Therefore, you don’t have to wait until all exposures to be finished and able to shoot B&W or Colour during the same photo-shoot.

The lenses are made by Carl Zeiss thus equates to superior image quality. There are several different types of lenses for the V system, some with lens built-in Synchro Compur shutter like in C and CF lenses and some without that uses the in-camera shutter like the F lenses. My Hasselblad 2000FC/M can uses all three types of lenses since it has a built-in shutter and a top shutter speed of 1/2000 second. The optics are all made by Carl Zeiss and has the typical Zeiss quality with its renowned 3D rendition. Some people buy the system because of their famous lenses. There are also difference in lens coating and are noted by the T* sign. The lenses I used are the Carl Zeiss 150mm F4.0 CF T* lens which is equivalent to 94mm in 35mm format, which is the perfect lens for head and shoulder portraits. I am also using the “magical” lens in the Hasselblad world , the Carl Zeiss 100mm F3.5 C T* lens that is equivalent to 63mm and it is a mysterious lens that is rarely used but contains some magical qualities. One day I hope to get the “Noctilux” of Hasselblad, which is the Carl Zeiss 110mm F2 lens that will produce stunning bokeh!

I loved shooting with 35mm film on my MP, although the film qualities are presented i.e. the great exposure latitude, dynamic range and tonality but the sharpness is not up to the standard that I desired. Medium format film seems to be the “Perfect” solution for this, it has incredible sharpness, even at 100% crop looks tack-sharp amazing to me. Although with the significant gain of resolution over 35mm film but it still retains all the film qualities that makes it so attractive. There is also a great gain in shallower Depth-of-Field and the bokeh from the lenses are incredible. The frame is 6×6 which makes it a unique square shape that stands out from all other images. I have yet to print those images in large sizes but have heard that you can even blown them up to 2 by 2 meters prints, which is perfect for commercial usage.

It has been a real joy to use the hasselblad and I am still amazed at its quality. While my journey in the medium format world continues that I would highly recommend for anyone wanting try out medium format film photography : do not hesitate!

Please feel free to visit my Flickr or 500px to see more of my work:

Flickr: HYPERLINK “”

500px: HYPERLINK “”


“Father & Son” Ilford Delta 400

Father & Son


“Hairy Chest” Ilford HP5+

Hairy Chest 

“1958 Chevrolet Corvette” Ilford HP5+ 

1958 Chevrolet Corvette

“French Nun” Fuji Reala 100

French Nun 

“In the Wind” Fuji 400H

In the Wind

Jan 142013

Quick Comparison  – Leica Monochrom, Sigma DP2 Merrill and Hasselblad 39CF

by Michael Ma

Hi Steve:

Huge fan of your site. I am lucky to own two pieces of equipment that you have reviewed, so I thought I’d contribute. My Leica Monochrome just arrive today and I decided to give it a spin in terms of image quality. Both the Leica and the Merrill DP2 are reviewed in detailed on your website and they are renowned for their image quality. Since I’m lucky enough to have a loaner Hasselblad with the CF39 digital back on hand, I’ve decided to do a quick and dirty IQ comparison using the Hassey as bench mark.


Dim room light

1.7 meters to subject

All images had gone through only contrast adjustment, no sharpening

On tripod

Hasselblad 39CF with 80mm CFE lens F2.8, F5.6 1/2, 1/4S

The Hasselblad yielded a pleasing overall image in terms of tone and rendering. With 39 mega pixels 49x36mm sensor, we don’t expect anything less. The 100% crop shows that even when wide open, the CFE lens is sharp and shows nice contrast. Note that the physical size of the Hasselblad image is almost twice as large than the Leica and Sigma.

Hassey picture: 


Hassey crop (click image for full size cdrop)


Next up is the Leica Monochrome with Summilux 1.4 ASPH latest version F2.8, F5.6

WOW, the Leica is sharp! I don’t have a M9 to test the comparison between the mono sensor and the regular CCD sensor, but the 100% crop looks sharper than the Hasselblad shot and you can see the details in the canvas texture. The image was over blown in exposure but the details are still nicely preserved. Very impressive!

Leica picture


Leica Crop – (Click image for full size crop)


Finally comes the Sigma DP2 Merrill.

I couldn’t believe my eyes when I saw the pictures. It is clearly the most rich and detailed of all three. The photo was shot with the lens wide open at F2.8. Astounding details and color. Now look at that 100% crop. The texture of each brush stroke is so vivid. Beats the Hasselblad hands down.

DP2 Merrill


DP2 Crop


Conclusion? Well this is a very clumsy test. But besides the poor testing conditions I think there’s a story to be told here. All three are great camera systems. The Hasselblad is older and the lens probably could have used with more stopping down. But this is also a 9000 dollar set up (used price). The Monochrome setup is 12K all in (when bought new). The Leica lens is incredibly sharp and the Monochrome retains so much details in the shadows. But the ultimate winner here is the Sigma DP2. At a tiny fraction of the price of either the Hassey or the Leica, it delivers the best results in color, details, and contrast.

Michael Ma


Get every new post delivered to your Inbox

Join other followers:

Skip to toolbar