News and Misc

Hasselblad X1D-50C Leaked Sample Images (Exclusive) (Updating)

Below you can find leaked information from the Hasselblad website on the upcoming Hasselblad X1D Mirrorless medium format camera which appears to be based off of the Sony 50 megapixel CMOS crop sensor that is currently used in the Pentax 645Z, Hasselblad H5D-50C, and PhaseOne IQ150, IQ250 and now IQ350 MFDB’s.

Photographers Laura Bailey and AORTA were given early access to the camera to create a gallery of sample images.

Pricing leaked images obtained by PhotoRumors show the camera, as well as list the pricing which is $8,995 for the body and Hasselblad XCD 45mm f/3.5 lens is $2,295 and the Hasselblad XCD 90mm f/3.2 lens which will cost $2,695. So body and lens $11,290. No word on adapters or a lens roadmap as of yet (but don’t get your hopes up for either).

Quick Takes

- First off, it’s an EVF (Electronic Viewfinder), and without espousing all of the benefits of an OVF (Optical Viewfinder) over an EVF here…..let’s just say the worlds best EVF is still no where near the quality of an OVF.
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- To make an affordable “prosumer” grade product, Hasselblad hasn’t really cut costs, but has cut features to make it more “basic” with an Overly basic user interface, and the removal of helpful buttons found on the H body and XF.
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- It’s limited to 50mp; It’s limited to a small sensor. Only 1.3x crop this is not true medium format. It seems likely that means the entire XCD lens line will almost surely be limited to that 1.3 crop. You’d be investing in a lens and body lineup that aren’t full frame medium format. Full frame medium format rangefinders are inevitable…Why invest in the little brother as going full frame won’t make it that much bigger/heavier and would make such a nicer camera.
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- First Generation. Like any “world’s first” it’s a great idea, but how likely is it that they knock it out of the park the first time. An X2D or what is sure to be a wave of followon MF rangefinders is inherently more interesting. I am concerned about a future lenses and expandability.

Leaked Hasselblad X1D Sample Images

Leaked Hasselblad X1D Sample Images

Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images Leaked Hasselblad X1D Sample Images

L1010252ISO 50000 100% Crop

Press Release: PhaseOne A-Series

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Today, as part of their long-term partnership with Alpa of Switzerland, PhaseOne announced the A-series.

It should be noted that although the PhaseOne A-Series does contain Alpa components, it is being sold at all PhaseOne authorized dealers, even if they do not carry the full Alpa product line. My preferred PhaseOne dealer, Digital Transitions (digitaltransitions.com) located locally in NYC will be one of the first to have the new PhaseOne A-Series. I will be working extensively with Digital Transitions as well as PhaseOne to help bring more content about A-Series in the near future.

The A-Series is more then it appears at first glance. On the surface, it is an Alpa TC (travel compact), combined with a one of three flavors PhaseOne back and three Rodenstock lenses, and it is all of these things, however it is also a lot more.

While still usable, the PhaseOne A250 (IQ250), PhaseOne A260 (IQ260) or PhaseOne A280 (IQ280) sold with as part of the A-Series kit, will feature LCC’s for each specific lens applied in camera meaning that what you see is what you get on the back of the camera. This can be accomplished because the Alpa TC which the A-Series is based off of does not have movements. I believe that this is a huge boon for this as a compact travel system because there is much more certainty that you have got the shot, as well as the fact that it makes editing much easier. Most importantly however, it means that you can take pictures in rapidly changing conditions without having to worry about capturing an LCC (which requires a second exposure to be made, identical to the first in every way immediately after an image is taken). LCC’s vastly improve resulting images (especially with movements, but also for single-shots), however they are time consuming to capture. Being able to know that you have three lenses where your resulting images will be the absolute best on the planet straight out of the camera with no further steps required is huge.

The PhaseOne A-Series is pretty much the newest, latest and greatest “Most expensive point and shoot in the world”, not only does it capture this title, but it also captures the title of “most expensive mirrorless camera”. It does require manual focusing, however this is aided both by live-view on the camera’s rear screen (and live-view soon to be available in PhaseOne CapturePilot 1.8) as well as via image review on both the cameras rear screen and on iOS devices via CapturePilot. Further mitigating any complications presented by manual focusing are the PhaseOne IQ-series’ premium features including a focus mask available during image review that shows you which part of your image is in focus, as well as flashing highlight warning. Further, with all three of the lenses 23mm, 35mm and 70mm the PhaseOne A-Series can easily be set to a hyperfocal distance (http://www.dofmaster.com) where the focus distance can be calculated and set such that maximum DoF can be achieved at any aperture making shooting a breeze.

Since the PhaseOne A-series is sold as a package is has a number of other advantages. First, since it is delivered as a single package, its 5-year warranty is extended to all components of the package. The Rodenstock lenses are calibrated at the Alpa Factory with their HPF focusing rings which means that they will be as precise as humanly possible. Also the PhaseOne digital back will be shimmed by Alpa. Shimming is a very meticulous process where effectively an offset is created spacing the digital back and the lens just precisely to yield the sharpest possible image. Considering the extremely high-tolerences that Alpa products are manufactured too this is a process where changes are happening at the level of fractions of a millimeter with extremely thin pieces of metal being placed in the digital backs mount to create the required distance for the ultimate image quality for the PhaseOne digital back.

Another great thing is that, while this is a kit, the parts can be used with other camera systems. For instance, if you decide you want more control over your photography, you can opt for an Alpa body with movements, like the STC (stitch travel compact) or SWC (Super wide compact) as well as add additional lenses and accessories for more creative control. Also you can take the IQ2 series digital back off of the PhaseOne A-Series and put it on any Mamiya M mount medium format camera like the PhaseOne 645DF+ and enjoy the full range of autofocus and leaf shutter lenses from PhaseOne and Schneider-Krueznach.

Alpa’s are often compared to fine Swiss-watches or luxury performance automobiles because of their absolutely impeccable mechanics, finishing and attention to details. Alpa’s are well loved by commercial and fine-art photographers for their luxurious feel and absolute precision. Combined with PhaseOne digital backs they can produce some absolutely stunning results.

the PhaseOne A-Series is not a technical camera, it is a compact medium format digital travel camera. If you are looking for a technical camera, you can read my review of the Cambo WRC-400 or my upcoming review of the Arca-Swiss RM3Di. All of these cameras are distributed by my PhaseOne Dealer, Digital Transitions and comprehensive information as well as their proprietary online visualizer application for technical cameras can be accessed through this link.

PDN PhotoPlus Expo 2013 Report

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Yes its an Instagram photo, deal with it, I have a social life

To be perfectly honest, I was very excited for the PDN PhotoPlus Expo 2013 and expected it to be a really interesting trade show with all of the latest goodies on display to look at and interview people about. I walked away a bit disheartened from a number of the major exhibitors who had booths which were too small, over-filled (with people and stuff) and generally staffed with lackadaisical and disinterested staff, oh and there wasn’t a wonderland of photographic goodies to feast my eyes upon. While there have been some interesting camera announcements lately (and don’t worry we will get to those), I was faced with an what (to me) seems like a stagnant industry with zero inspiration or innovation in a time when that is exactly what it needs more then ever. BUT that being said, I still managed to find some cool stuff to talk show you and talk about especially from Olympus, Zeiss, Leica and Rolleiflex (wait what? scroll down to find out more).

I will break this article down into sections by company so it is easier to read, or find what your interested in.

1. But where was Pentax?

Before attending the PDN PhotoPlus Expo I posted on the forums, that I was going and that I would be happy to visit any booths that anyone (who was unable to attend the show) wanted to see. The main response I got to this asked me to go visit Pentax and ask them whats up with the medium format digital camera? Will we ever see a Pentax 645Dii? Well, I walked into PhotoPlus all happy that I had a mission, and something to go see for someone because in that moment I knew my website was doing some good in the world. Well, the world threw me a curve ball because guess what?! There was no Pentax (Ricoh Imaging). It is really hard to answer a question that you can’t ask because there is no one there to ask it to. Though, I suppose, in a way that is in and of itself an answer eh? Frankly its surprising to me that Pentax would not attend PDN PhotoPlus Expo since it is one of the larger photo conventions servicing the large tri-state camera market, but even more so because they JUST released the Pentax K-3 their new “flagship DSLR”. Anyway, I don’t know whats what with them or frankly whose buying their cameras, but again I am one man and only know so much. It seems like they are sort of dead in the water as it were, this is sad because the Pentax 645 system has some wonderful AF lenses, especially some of my favorite type of lens, Telephoto’s yes, thats right! Pentax has made AUTOFOCUS medium format TELEPHOTO lenses in the past, as well as many other nice optics so it is sad to see them languish in the digital age. Though, that being said the Pentax 645D is a nice camera at a decent price for a medium format camera, and they seem to be reasonably well priced on the used market so if you have Pentax 645D lenses you still have a viable digital options of sorts. As I said, unfortunate but oh well.

2. Sony

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC featuring the new Sony A7r mirrorless full-frame camera

Sony A7r sporting the Zeiss Sonnar T*  FE 55mm f/1.8 ZA lens 

Sony WOULD have made a splash with the announcement of the Sony A7 and the Sony A7r, however the fact that sony was working on a full-frame mirrorless digital camera  was leaked oh I don’t know 6 months to 1 year ago sort of took the edge off of things. I watched a couple of YouTube videos covering these two cameras and concluded I really wasn’t terribly interested in them for myself. That said, they are unique, and they have some great Zeiss glass to help their great sensors along. Of course, all sorts of people are (and should be) excited about this camera because it means that they will be able to use all sorts of new (old) lenses on the D800′s 36mp sensor which is housed in the Sony A7r’s petit body. The Body is a bit small, it fit reasonably well in my hand. Even with my small hands the dial positioning was a big problem and I could see this being a major issue down the line.

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC featuring the new Sony A7r mirrorless full-frame camera

Sony Premium Services and PDN PhotoPlus Expo 2013

While almost creepy, it was terribly fun to watch this two little men (okay they were normal height but they felt smaller because they were in a glass box) work away on some cameras. Though I am not really sure what the purposes of them was or why they were there. Maybe this is their secret mobil laboratory where they create their cameras of mass destruction? I don’t know, but I do know what kind of laptop they were using (hint it was Sony). Maybe it was free sensor cleaning if you brought in your Sony camera? I don’t know, but I’ll just assume.

3. Leica

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC featuring the new Leica X-Vario

Leica X Vario with optional EVF and grip

Leica didn’t have anything terribly new to show the world (would have been cool if maybe they had that one of one (RED) Leica designed by Apple exec Jonathan Ive) but they did have some relatively new stuff on display including the Leica X-Vario. While I (and many other people) find this camera bit strange, I must say, when its all done up with its EVF and hand grip, it looks much more reasonable and like a little camera you might actually want to tote around town with you.

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC featuring the Leica M240 with a PL mount Leica Summicron-C cinema lens attached via an adapter

Leica M240 with PL-mount adapter and Leica 50mm f/2.0 Summicron-C Cine Lens

I also managed to grab this cool (spy-ish) shot of a rarely-seen-in-the-wild Leica Summicron-C 50mm f/2.o PL mount cine lens mounted on a Leica M240 via some adapter. While indeed rather strange looking, its also a good bit of fun when you think about it really. While I don’t really know what this was doing here or why there were three guys huddled around it, here we have it and I’m sure, with a bit more of a rig built out around it, it can take some cool video.

4. OlympusMy report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC including the new Olympus OM-D EM-1 micro four-thirds camera

Olympus OM-D EM-1 with Olympus M.Zuiko Digital ED 75mm f/1.8 Lens

Personally, I found Olympus to be the most interesting consumer brand exhibiting at PDN PhotoPlus Expo 2013 this year. I must say, the Olympus OM-D EM-1 is a spectacular camera and one that I am very interested in. Being the bigger brother of the Olympus OM-D EM-5 it has some interesting upgrades which help to make it a more usable camera. Even for someone like myself, someone who does not have big hands, the added grip is a nice ergonomically touch. And unlike the majority of the mirrorless cameras out there the dials are somewhat rationally placed which is a nice touch. There were very few things that I found to complain about with this camera, the only real complaints I can find on a personal level are: 1. Its mirrorless (well duh) which is something that I am not to fond of, though to be honest the better EVF’s are getting extremely good, both the Sony A7r and the Olympus OM-D EM-1 have very good EVF’s 2. I think it may be somewhat lacking in resolution, granted it has approximately the same MP count as my Nikon D4, but of course its quite different in a number of significant image quality making areas.

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Demonstration of Olympus OM-D EM-1 5-Axis image stabilization 

One of the interesting new features of the OM-D EM-1 is its 5-axis image stabilization which works incredibly well (more on that in a second). In hind-sight I should have taken a video but I hadn’t broken out my “video rig” yet, but I didn’t feel bad since there have already been videos showing off this same trick. You can find one here and here if you are interested. It works very well and seems like a major boon to this camera.

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC including the new Olympus OM-D EM-1 micro four-thirds camera

Olympus OM-D EM-1 with optional battery grip and Olympus M.Zukio Digital 45mm f/1.8 Lens in black

While the Olympus OM-D EM-5 was a remarkably compact system with good lenses, people obviously found it too small and were desiring a Panasonic Lumix GH3 type size variant and that is exactly what they god in this camera. When you add the battery grip onto this camera it becomes remarkably well sized (in my opinion) and certainly opens itself up to pleasing a lot more people with its larger form factor. Also, in this picture you can get an even better idea of the size of this camera when you look at how small the Olympus 45mm lens looks as its dwarfed by the body of this camera. I don’t mean to say the Olympus OM-D EM-1 is professional DSLR sized large, because its not. Also the Olympus is extremely light and packs some pretty good autofocus and very good autofocus tracking especially with the micro-four thirds lenses.

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC including the new Olympus OM-D EM-1 micro four-thirds camera and Olympus 300mm f/2.8 ED Lens

Olympus OM-D EM-1 with MMF-3 adapter and Olympus 300mm f/2.8 ED Lens

As I have gotten more and more into wildlife photography, the biggest barrier for a number of personal reasons is the size of the equipment. I am well aware that when I am taking my Mamiya 300mm f/2.8 APO and Mamiya 500mm f/4.5 APO lenses out  that I am not in for an easy time, but even Nikon 35mm gear can get pretty heavy pretty fast, especially as you get into the telephoto end of things. For this reason I have been very interested in the Olympus system since the MFT cameras have a 2x crop in them making their Olympus 150mm f/2.0 lens into a 300mm f/2.0 (35mm equivalent) and the Olympus 300mm f/2.8 ED into a 600mm f/2.8 (35mm equivalent) which of course are two such lenses which do not exist. Even further, you can use the Olympus 1.4x and 2.0x TC’s to make these lenses max out at a 600mm f/4.0 and 1200mm f/5.6 (35mm equivalent) which is pretty spectacular. The Olympus 300mm f/2.8 ED lens is by no means a small lens, it is approximately sized the same as all other 300mm f/2.8 lenses (be at Canon, Nikon, or even the Mamiya) but considering it is really a super-telephoto disguised as a “normal” telephoto its pretty cool. The exceedingly nice Olympus staff were nice enough to take this lens out of the case and put it on the camera for me (since its impossible to see this combination anywhere and very difficult to rent). In the Javits center, which isn’t the best lit, this camera still did a pretty good job autofocusing. Its was by no means the fastest, but it wasn’t atrociously bad like putting a Canon AF lens on the Sony A7r. The camera will retain autofocus even with the 2x TC at 1200mm f/5.6 though I am told the quality begins to degrade here since its a 2x TC etc. The thing that impressed me most, was the image stabilization. I was shocked at how well the stabilization worked as I was looking around the convention center popping off frames at slow-ish shutter speeds, when I zoomed in on the images on the back of the screen, despite my hands shaking because of the size / weight of the lens and its imbalance with the small camera body, the images were seemingly tack sharp. Very cool, not sure how practical it is considering it isn’t the fastest AF, but hopefully I will be able to rent it soon and see for myself.

5. Sandisk

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Sandisk CFast 2.0

Sandisk had a small booth, staffed by very nice people showing off their latest cards, which was nice. Having not really read that much about CFast 2.0 I was curious about its potential max speed of 450 mb/s and if there were plans at the moment to have this standard begin appearing in any photographic cameras. However, I was told at the moment CFast 2.0 looks like it will be remaining in the cinema market with cameras like the Arri Alexa taking the card. This makes sense since digital movie cameras move so much data, that they need fast cards. But, I’m just saying it would be nice to see this in a PhaseOne camera or even a Nikon D-series camera even though I suspect there are diminishing returns with each of these as you get into smaller and smaller formats.

6. Kodak

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Kodak Alaris

Kodak’s newly rebranded (post-sale) “Kodak Alaris” was present at PDN showing off a range of print products, as well as some of their film still. Oh how the mighty have fallen. I think one of the reasons this year was pretty depressing was because when you look at the the show, it felt like a good 60% of it was taken up with a billion different print companies all trying to hock papers and various print products. I don’t have any problem with these companies, but I’m just saying I would love to see more independent and smaller camera making companies and things like that showing their stuff at the shows rather then every single printing company and all of their kitschy products.

7. Samsung

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC Samsung

Samsung’s 85″ UHD-TV “worlds largest 4K TV”

Further adding to the depression setting in for me was the fact that Samsung brought along their TV’s to the show. I get there is an argument to be made for why they might want to show this off, but its ridiculous, its a camera show, not an electronics show. I know Samsung makes cameras (my first point and shoot as I began to get into photography was a Samsung) but they seemed to have languished (or at least not make anything I care about) since then and I just think thats wrong. Especially considering this is approximately at $40,000.00 dollar TV it makes it even more offensive. THAT SAID it’s totally awesome man, its crazy good looking and I want one, or three. Digressing for a second, the only annoying thing to me is that it seems you have to leave it in their frame, which sucks since its better to have these things wall mounted and no one has stands for TV’s anymore. Also apparently it has some way you can control it with your hands, IDK crazy stuff, I just want my TV to let me watch TV, movies, and play video games and this would totally be awesome for all of those things. Do you know what this screen has nothing to do with? PHOTOGRAPHY which one would assume is the point of a photography expo. Anyway….

8. Panasonic Lumix

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The tiny Panasonic Lumix G DMC GM1KS

By all accounts the Panasonic Lumix cameras are pretty decent, I wouldn’t know, its not really my thing. This is pretty impressive though considering this thing is absolutely tiny, and its a decent looking ILC. Thats really all I had to say about it, its just impressive sometimes to see where technology has gotten us. I did however want to see the Leica DG Nocticron 42.5mm F/1.2 lens which will be the fastest autofocus lens for MFT cameras (which means it could be used on an Olympus OM-D EM-1 just saying) which looks pretty interesting. But of course, in the disappointing vain of a lot of this show it was not even present as a prototype behind glass. Bummer.

9. Carl Zeiss

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Carl Zeiss NEX 50mm f/2.8 Touit Macro lens

A very nice man from Carl Zeiss showed me a prototype of an upcoming lens for the Zeiss Touit line of lenses, the Ziess 50mm f/2.8 Touit Macro. This lens will be available in Sony NEX and Fuijifilm X-mount’s at the beginning of 2014 for a price of somewhere around ~$1,000.00. Since this was a prototype the autofocus wasn’t the best but I was assured and expect this will improve before the final version considering how well most mirrorless lenses are focusing now. The lens was very sharp and got down to 1:1 and I wish that it would come in the MFT mount, though I understand why it won’t. My main complaints (which many share) are that these lenses don’t seem to be weather sealed or weather proof or really weather anything and that the focusing ring is lackluster at best. My main concern / complaint which Zeiss is apparently aware of (but not doing anything about?) is the absence of a focusing scale which would have been especially nice on a macro lens considering there is no way to know you are at the minimum focusing distance which is super annoying. This seems like a big oversight to me, but oh well.

10. Yasuhara Nanoha

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Yasuhara Nanoha 5:1 Super Macro Lens for Micro-four Thirds

I had seen this lens a few times on the B&H website and found it to be very curious and interesting considering its insane capabilities. It is really cool and is essentially slapping a low power microscope objective on to the front of your camera. This lens is very sharp, owing to its small aperture, which is why there are three LED’s tacked onto the front of the lens to help light a subject, of course these can be turned off. It is both smart and a bit strange that this lens has its own USB (good idea) power for the lights via any USB battery pack. This is, I suppose a bit of a strange concept but it totally makes sense on saving camera power to have these energy sucking lights powered independently of the camera. To use the lens you can literally put it flush with a surface you want to focus on and get in focus results, you can zoom in insanely close and see your skin, and you can also zoom in on tiny text and see the individual paint splatters from the printer head that make up the text.

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC

Yasuhara Nanoha 5:1 Super Macro Lens showing off its close focus

This is a pretty cool lens and some of the most striking images it can create come when utilizing focusing stacking. Examples of this can be found on their website here. The most interesting thing I was told was that they were in fact working on a variant of this to be used with full-frame 35mm cameras which I think could be really cool and would be something that I would absolutely love to see happen since its a really cool lens concept which is pretty different then a lot of stuff out there. This is the kind of stuff I like to see at PDN, the smaller independent stuff that is trying to make a name for itself, or just simply show off its humble wares.

11. Sinar

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC sinar p3 in Lieca s2 mount

Sinar P3 Digital Focus in Leica S mount with Leica S2 mounted

I did not know this, but apparently Sinar released a version of their P3 camera in the Leica S mount which they were showing off with a Leica S2 mounted to it. This is pretty cool and helps to expand the capabilities of the Leica S camera which I happen to like a lot. This camera offers a full range of movements for both the front and the rear of the camera exactly like a traditional studio 4×5 camera. Everything is nicely geared and clearly marked. I would have loved to have asked some questions about this set up, however the Swiss-German gentlemen clearly assigned to this camera was clearly too busy having a love affair with another German speaker (unclear if he worked for Sinar too) and wouldn’t have even given me the time of day. There were some other Sinar reps showing off their other cameras, but I was so putt off that I lost interest.

12. Digital Transitions

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Arca-Swiss Rm3Di at Digital Transitions Booth

Digital Transitions, my PhaseOne dealer of choice was of course present at PDN PhotoPlus showing off all sorts of cool gadgets from the likes of Arca-Swiss, Cambo, MamiyaLeaf, and PhaseOne. Its always good fun to see all of this stuff out and about in the world and its nice to see the number of people who are interested in medium format digital backs even though smaller sensored cameras are catching up in MP’s and MFDB’s run into the tens of thousands of dollars. Also that said, it should be noted that a number of very capable last generation backs are available on the market (and from Digital Transitions) in the sub-$15k and sub-$10k market, and even a PhaseOne P25+ (Sub-$10k) will blow smaller sensored cameras out of the water.

Digital Transitions 10 year anniversary

PhaseOne PhotoPhase and LightPhase “vintage” digital backs

The highlight of my week was the really well executed Digital Transitions 10 year anniversary party which was really well executed and brought together photographers and manufacturers intimately for some product demos and discussion as well as a pure celebration of the past 10 years of the companies history. Considering my intimate relationship with the company over the past few years and my belief that they are truly the best at what they do made this a nice and enjoyable occasion. It was nice to meet fellow photographers as well and hopefully will have opened up a number of opportunities for more interesting content for this website. One of the opportunities that I am most excited about is the chance to get some products from Rollei to review…

13. Rolleiflex

My report from PDN PhotoPlus Expo 2013 at the Javits Center in NYC showing the Rollei Rolleiflex FW 50mm f/4.0 version

Rolleiflex FW 50mm f/4.0 TLR

Eric Hiss from Rolleiflex US was at both the Digital Transitions party (sporting the Rollei Hy6 Mod2, more on that later) and at the PDN PhotoPlus Expo sporting this Rolleiflex FW 50mm f/4.0 TLR. The Rolleiflex FW is a $6,700.00  $5,375.00  (available here) film camera which is still traditionally and expertly made. It is an updated version offering modern features while still having the functionality and aesthetic of the classic Rollei TLR’s that the likes of Vivian Maierr and countless other photographers have used. Even while I was standing around with Eric, a number of people came up and asked “is this a digital camera?” and of course it is not which is something special in a way, and although there are few reports on it out there both the Rolleiflex FW 50mm f/4.0 and the Rolleiflex FX 80mm f/2.8 are supposed to be great cameras. I look forward to hopefully getting my hands on them to review soon so we can see what they can do.

The Rolleiflex hy6 Mod2 medium format film and digital camera in my hands!

Front and side views of the Rolleiflex Hy6 Mod2

Eric also had the Rolleiflex Hy6 mod2 on hand at the Digital Transitions 10 year anniversary party on Wednesday night to show off this very interesting camera. The Rolleiflex Hy6 camera is currently not very big in the US, though it is popular overseas even though it offers some unique features. It looks as if it is a cross between a Hasselblad V series camera and a modern SLR. It features autofocus and modern controls with some interesting caveats and features. First of all, its really cool to be looking down a classic medium format top-level viewfinder and holding down the shutter and watching the lens magically autofocus, this is a very nice feature. At the top of the viewfinder you find a digital display which shows all of the requisite information that you would expect to find on any professional camera. The grip is particularly interesting, it is adjustable to two different positions which allow for the most comfortable shooting possible when using the camera with the pop-up viewfinder (pictured on the camera) as well as with the 45-degree and 90-degree viewfinders where you can move the grip into a classic vertical position. The camera body is very solid with metal construction, yet is very light. I only played with it with a film back mounted, but of course the weight would increase when you put a digital back on it. The Rolleiflex Hy6 can currently only be used with Sinar and Mamiya backs. Mamiya probably has the best digital back options for it including the AFi-ii 10 (currently available through a special promotion at Digital Transitions) and MamiyaLeaf Credo 60 and 80 digital backs (see below for more on this). As we can see from the side view, a number of key camera settings can be easily accessed from the left hand side of the camera via actual knobs and dials which is extremely nice and refreshing and something that I really liked. Also of note is a very interesting feature, that I frankly think should be on all cameras, which is focus bracketing. On this camera you can electronically control the focusing distance and program the camera to take shots autonomously at varying focal lengths to combine later for increasing the in-focus area of an image. Also the Rolleiflex system has some really nice lenses including the Rollei APO-Symmar 90mm f/4 Makro PQS which is touted as being one of the best lenses ever designed and the Rollei Zeiss 110mm f/2.0 Planar PQ Lens (which is the same as the Hasselblad version) which is a very unique lens at a very fast aperture. Unfortunately these two lenses are manual focus, but you can easily change out the focusing screen for a nice micro-prism focusing screen which will make manual focus that much easier.

Update on options to use the Rolleiflex Hy6 with a medium format digital back: Eric Hiss informed me of some more of the particulars regarding various medium format digital backs (from MamiyaLeaf and Sinar) on the Rolleiflex Hy6, these include the Leaf AFi and AFi-ii backs and the Credo’s, you can also use older as well as current Sinar backs on the camera without a problem. Also worth noting is that the Rolleiflex Hy6 mod2 does not lock out customers who had say purchased the Sinar Hy6 variant with an older Sinar digital back, you can still use it on the Rolleiflex Hy6 mod2.

Conclusion

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Me and my host from my Cambo Factory Tour, Rene Rook at the DT Party

While I will concede I was a bit surly for some for some of this report, I think the comments were mostly valid, although at time hyperbolic, but still what can I say there were a lot of very uninspiring things out there this year. I’m sure it will get better as the digital camera market better adjusts to consumers demands but of course there were still some nice things out there which I hope you found my coverage of interesting. Please leave me comments letting me know which of these products you would be especially interested in reading more about and I will be sure to follow up with them.

 

Looking Forward to PDN PhotoPlus Expo 2013

PDN PhotoPlus 2012 Summary Montage image showing Arca-Swiss E-Module, Hasselblad H5D, and Multistich

Arca-Swiss E-Module Cloud, Hasselblad H5D, Multistich @ PDN PhotoPlus Expo 2012

Later this week, I like many other photographers will shuffle into the Javits Center for the annual PND PhotoPlus Expo trade show where all of the latest and greatest technology from most manufactures of note will be on display for the world to see. I will be attending again, possibly with video reports (again ~ see last years here on YouTube or on my website here), and will be checking out all of the cool new stuff. I will of course be making the rounds to see whats what at all of the major booths from Canon, Nikon and Leica etc and will attempt to highlight some of the smaller exhibitors like I did last year with Arca-Swiss, Multistich, Zeiss, Schneider-Krueznach and so on.

 There have been some rumors of a new compact professional Nikon camera though now it looks like this while not be shown at PDN PhotoPlus Expo 2013, though it looks like an absolutely stunning camera. There were also some rumors that Leica may release a new consumer grade camera at PDN and while I suspect this will be something along the lines of a new super-zoom or d-lux type camera, you never know it could be something cool and as an eternal camera optimist I will be hopeful that it is some sort of new and unique camera.

I’m looking for some help and guidance from you to help me make sure that I cover everything that everyone is interested in at PDN PhotoPlus 2013. I know there have been a number of camera announcements as well as new products brought to market lately so please leave comments and let me know if there is anything that you would like to specifically like to see, and I will do my best to get my hands on it and cover it while I am at the show.

Press Release: PhaseOne IQ2 Series Digital Backs

 The New PhaseONe IQ280, IQ260 and IQ260 Achromatic Digital Backs

Rather unexpectedly, PhaseOne soft released the new IQ2 series digital backs in an e-mail press release (which you can see here, if you are not on the PhaseOne mailing list). In this move, other then releasing a few new products, they did us all a favor by demystifying why the IQ series had that “1″ before the mp count of the backs…..so thank you PhaseOne for that. The full press release can be downloaded here from the PhaseOne website.

These backs offer a few small improvements, and offering some interesting accompanying news about the much anticipated (if your into that sort of thing) USB 3.0 tethering option which has yet to be enabled. As Digital Transitions explains in this blog post, USB 3.0 tethering is in Beta testing, and essentially if you ask nicely you can receive this firmware for you IQ back.

These backs are physically identically similar to the IQ1 series digital backs, however they have a new locking mechanism for the digital back to the camera where the sliding lever must be pushed forward and held in place while the button is then pressed to allow for the release of the back. This function makes it slightly less convenient to remove the back from the camera, but this small sacrifice in convenience adds to the safety of the camera by ensuring that the back is always locked on the camera.

The IQ2 series is fairly well covered on the PhaseOne website, but I will highlight a few of the key points. Firstly and most prominently, the IQ2 series digital backs feature wireless remote control and “wireless check” through the Capture Pilot iOS App which will be updated to communicate with the IQ2 series digital backs over the wireless connection that the IQ2 will transmit for itself from internal components built into the camera. This field generated by the camera (which is totally safe by the way, and if you are afraid of it, then are you also afraid of cell-phones???) will be functional for a small to medium radius around the camera, and should do fine for most shoots, however a repeater is recommended if you wish to use these features at distance.

the PhaseOne IQ280 is now the flagship product replacing the IQ180. It has been upgraded with the wireless connectivity discussed above. It also will feature USB 3.0 Connectivity at launch. Also, interestingly, through the retooling of all of the electronics including the A/D converter, the firmware and supporting electronics the IQ2 adds an extra half-stop of dynamic range to the camera bringing it from 12.5 stops of dynamic range in the IQ1 series to 13.0 stops (+0.5 stops) in the IQ2 series. This is certainly a nice little boost to the camera, although not something that you will sorely miss in most applications if you have an IQ180.

PhaseOne 645DF+ and IQ260 Digital Back

The more interesting additions to the IQ2 series line-up are the IQ260 and IQ260 Achromatic digital backs. These backs, offer all of the improvements and added features discussed above, plus a few extra things. the IQ260 digital back now offers long exposure capability of up to an hour, like its forerunner the P45+ which also featured this capability. Now, in the IQ260 the Dalsa sensor is specially used in a mode where it utilizes the outside of each pixel allowing for heat to escape through the center of each pixel. This allows for the sensor to stay cool long enough to yield usable exposures for extended periods of time just like on the P45+. Because of the way that this special use of the sensor works, the base ISO is raised to ISO 140 when using this mode. I am unsure whether the mode is usable with ISO’s other then ISO 140, but more to come on that in the near future   **Long exposure mode works from ISO140-ISO800**. Updating another interesting model in the PhaseOne line-up the IQ260 Achromatic replaces the aging P-series Achromatic+ digital back. The IQ260 Achromatic captures images in the same was as the Achromatic+, i.e with a dedicated monochromatic sensor. However, the IQ260 offers a couple of improvements over the Achromatic+, namely the 60mp resolution (as well as the full-frame size of the sensor) and the IQ series digital back interface. An issue with the Achromatic+ was that it suffered from missed AF because of the added IR sensitivity of the sensor which resulted in focus shift, this was not easily identifiable in the field with the P45 based Achromatic+ back, where now on the IQ260 Achromatic back you have the ultra-high resolution screen of the IQ series to allow for you to check focus. I suspect that this camera will be very popular because of the recent resurgence in interest in monochromatic digital imaging. It is sort-of ironic that all digital imaging (35mm and medium format) started with black-and-white monochromatic sensors, and now we are again going that way for the aesthetic. With the overwhelming popularity of the Leica M9 Monochrome (I love mine) and the announcement of the insanely popular Red Epic with a monochrome sensor (Epic-M), the IQ260 fits in very nicely so that there are options across 35mm, medium format and motion pictures for true monochromatic imaging.

 

Unfortunately though, the IQ260 Achromatic does not offer the up to one hour long exposures of the regular IQ260 camera. I’m sure that there is some technical reason why this feature is not possible with the monochromatic sensor in the Achromatic but I do not know what this is.

Personally, the IQ280 doesn’t offer any compelling reason for me to personally upgrade since I do not shoot tethered that often and .5 of a stop of dynamic range, while nice is not a earth-shattering revelation in this upgrade. Its unfortunate that it could not just be done through firmware, which would have been a nice little surprise for IQ180 (and IQ160 and IQ140 owners out there). The IQ260 Achromatic with a hot mirror filter could be a very interesting option for some monochromatic imaging, as well as IR with differing filters. The IQ260′s long-exposure capabilities are certainly a boon for it and certainly make it an even more marketable camera then it already is, considering its jump in MP over the P45+ while maintaining the same long exposure abilities. The only thing that I regret, as mentioned above is that the Achromatic does not have the long exposure feature, but I guess we can’t have everything. All and all this is a nice little unexpected release surprise from PhaseOne which brings some new backs to market with some unique features. To me the stars of this release are the IQ260 Achromatic and the regular IQ260. The IQ280 will be a great camera, I know this because the IQ180 is a great camera, and the features it adds are certainly great improvements for new users but may not be compelling for current users to upgrade. I believe that for a limited time there is an upgrade path for IQ1 owners to IQ2 backs at a discount.

I’m sure that Digital Transitions will be one of the first to have the new IQ280, IQ260, and IQ260 Achromatic backs, and a slew of used/refurb IQ1 series backs in the near future, so head over there for more info on pricing and availability. 

 

PDN PhotoPlus Expo 2012 and ShootNYC 2012

Welcome to my PDN PhotoPlus Expo 2012 (and ShootNYC 2012) coverage. This year did not bring too many shocking changes however there are still some noteworthy products, especially from lens makers Carl Zeiss and Schneider Optics (as well as others) which highlight good trends in photography for the next few years. It also features interviews with Multistitch, Nikon, Cokin Filters, Olympus, PhaseOne, and Hasselblad (ShootNYC).

PhaseOne

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I will be doing a full and In-depth review of PhaseOne CaptureOne 7 Pro in a week or so. However, until then, Doug Peterson from Digital Transitions introduces and goes through some of the key features and improvements in C1 7 Pro.

Carl Zeiss

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At Photokina 2012, Carl Zeiss announced a number of new products, and most notably two new series of lenses for markets that that they had not previously addressed. They also announced the 135mm f/2.0 APO-Sonnar lens which is available in both ZE (Canon) and ZF.2 (Nikon) mounts. This lens had only previously been available in the CP.2 cine series of lenses and is now re-housed like the rest of their prime lens series for 35mm cameras. Next, Carl Zeiss announced (at Photokina) the production of lenses for the Sony NEX mount as well as the Fuji X mount (for the X-Pro 1 and X-E1 digital cameras). These are in fact, all metal lenses, with superior optics as well as autofocus. Carl Zeiss’s 35mm lenses (excluding designs for Sony) have all been manual focus and this is a pleasant change. It is in fact good that they are recognizing that a) not everyone wants to shoot manual focus 100% of the time and b) that manual focus is sometimes less practical on smaller format cameras. The final and most interesting new series of lenses that Carl Zeiss has announced are their new line of high resolution lenses for digital cameras. The first lens they have announced in this series is the Distagon 55mm f/1.4 ZF.2 lens (which I believe will also be available in Canon mount). This is an outstanding lens, and I look forward to it as well as the other lenses that they will produce in this series. All of these lenses are excellent and show us that serious lens manufacturers are starting to see the potential in smaller formats, and are now producing lens for them like they have in the past. To a sceptic of the smaller formats like myself, this is an interesting development (especially in sub-35mm formats) because considering the pedigree of these companies and lineage of lenses they have produced, their nod of approval can be seen to offer confirmation of the quality of these smaller cameras. Of course, it could also be a directive from the business office to boost profits, but hey I guess I am an optimist. 

I have always enjoyed the 135mm focal length when I have had chances to shoot it. I say when I have had chances to shoot it because, I have not owned a 135mm lens ever. I have eyed the Nikon, Canon (and Leica) lenses of this focal length, however have not committed to them. The Nikon 135mm f/2.0 DC AF lens is outdated and due for an update with newer lens coatings, autofocus, and overall build quality. The newer Nikon 85mm f/1.4G is superior to the 85mm f/1.4D (I still have both but thats another story) and the change between these two lenses (the 85mm f/1.4D is comparable to the 135mm since they were from the same time period) is enough to make me wait for Nikon’s updated version of this lens. Canon has had an autofocus 135mm f/2.0 lens for some time and by all accounts it is supposed to be absolutely amazing performance wise and I would have to agree. Of course these lenses have Autofocus, something that this Carl Zeiss 135mm lacks. However, the control afforded by manual focus (something which is executed excellently by Carl Zeiss) combined with the accurate focus confirmation systems of newer DSLR’s makes it a wholly usable lens, and not a significant inconvenience. The lens is built excellently (of course) and preforms very well (as you can see from the samples below taken on the Canon 5D MrkII).

My first introduction to the Carl Zeiss telephoto lenses was the 100mm Macro, which preforms excellently both optically as well as functionally with a smooth and long focus throw which is pleasant to use. This 135mm preforms very similarly in terms of its functionality and its optics are no slouch, when this optic becomes available later this year, It will definitely be coming home with me.

Carl Zeiss only offered prototypes for viewing at PDN PhotoPlus Expo 2012 showing the final designs for the lens bodies which are all metal and come with screw in metal lens hoods. These touches are very nice considering that the majority of smaller-format lenses lack these touches. The lenses also have autofocus which is a pleasant change from their manual focus lineups of lenses. I have no doubt that they will preform very well and am curious to see their performance as well as what other focal lengths they will announce in the future. These lenses are a pleasant and realistic change compared to the Carl Zeiss lenses which are provided for the Sony system which are manufactured by Sony and not Carl Zeiss. However these lenses are produced in Germany by Carl Zeiss and I have no doubt that this difference will show in their performance. I am slightly disappointed that Carl Zeiss has not announced any plans to produce lenses for Micro Four-Thirds cameras (which you would assume would be an easy thing to do considering they have developed these lenses for the NEX and X-Pro 1 systems already) but I am willing to bet (and this is 100% conjecture) that this may happen in the future.

The Carl Zeiss Distagon 55mm f/1.4 is an entirely new design produced by Carl Zeiss for newer high-megapixel 35mm cameras (specifically like the Nikon D800 and D800e) which are considerably more demanding on lenses then older smaller megapixel count sensors and cameras. The lens is exceptionally well built and has a very very nice rubber focusing ring which is silky smooth to touch and operate. One concern that I have however is that the focusing distance “screen” does not seem to be weather sealed which can be an issue when taking this lens outdoors (where you will be wanting to use it). Considering the exceptional built quality of this lens, and the fact that it is not obviously a studio lens, I am willing to be that this lens is in fact either weather sealed or will be before it ships. The staff at the booth, were not briefed about this subject and could not offer any insight into whether it was currently weather sealed or would be prior to launch.

 f/2.8

 f/1.4

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However as we can see, optically it preforms great. These sample shots were taken with my Nikon D3s and were shot at f/1.4 and f/2.8, and even on the D3s which has a lower megapixel count (then the newer D4 which I was shooting the videos with, and the D800/D800e) the excellent sharpness and overall performance of this lens can be seen.

Multistitch

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Multistitch is accessory/tool/solution for use with 4×5 cameras and digital capture. It allows for every conceivable medium format digital mount as well as 35mm cameras to be used with it (or course on different versions of the plate). The Multistitch is essentially a plate which is attached to the back of a braflok back 4×5 camera (almost every 4×5 camera) after focusing and composing and removing the ground glass focusing screen. The premise is by flipping the orientation of the digital back 4x times you can cover a larger image area (with overlap) to extend the usefulness of older digital backs (a 22mp will become approx. a 75mp effective resolution) through stitching in photoshop (or other software). The video demonstration above demonstrates this tool rather effectively, and I will be getting my hands on both the 35mm version (most likely Nikon mount) as well as the PhaseOne 645DF M-Mount versions for review since it seems to be an interesting solution for using full view-camera movements in the studio (and possibly the field?) from a 4×5 camera with digital capture technology.

 Nikon

Nikon was not terribly interesting for me this year, considering they did not announce anything of any terrible significance to me this year. They did just announce (and show for the first time) the new Nikon V2 camera, the successor to the V1, which I am only pleased with in the sense that it is good that it gets back a real grip, and some of the practical form factor of DSLR’s. I believe that the most serious small-sensored cameras are those which do not abandon the SLR / DSLR form factor. One lens that I would be interested in experiencing on this camera was the also newly announced development of a 30mm (32mm?) f/1.2 lens for the Nikon mirror less system. Mirrorless systems afford great low-light opportunities with a slew of f/1.4, f/1.2, and f/0.95 lenses which offer all sorts of creative possibilities. While in this case, this one lens does not sell a system to me, if they continue with some ultra-fast autofocus lenses, it could have some potential, however knowing the larger camera manufacturers, they live to disappoint. Micro Four-Thirds has considerably more fast lenses available which makes it a considerably more attractive system since it has a number of native f/1.8, f/1.4, f/0.95 lenses across a number of focal lengths, not to mention the ability to accept Leica M lenses (via adapters) which are generally f/2.0 or faster. Anyway they had these two mirror less products, as well as my favorite part, the ultra-telephoto section where they had all of their extreme telephoto lenses mounted on D4′s to play with. Included in these is the spectacular 800mm f/5.6 (their longest production autofocus lens) which will unquestionably be accompanying me on safari if I ever so choose to go on one.

 Olympus

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Olympus has been doing a considerably good job of late surprising me with the quality of products they are putting out. The OM-D EM-5 is the closest I have come to date to buying a Micro Four-Thirds camera. It preforms very well and has a number of very interesting and high quality lenses available for it. Olympus has made some absolutely and insanely impressive Four-Thirds lenses, which can be used on this camera (with autofocus via adapter) as well as a number of Micro Four-Thirds lenses which do not disappoint. They have released a series of high quality metal bodied lenses, which are a step up from their normal Micro Four-Thirds fare in the past which has been quite pleasing. Now, they have shown to me for the first time the outstanding new 75mm f/1.8 and 60mm  f/2.4 Macro lens which are exceptional to say the least. Unfortunately, I forgot an SD card, so you will have to believe me that these cameras and lenses offer exceptional image quality.

 

The 75mm f/1.8 is Olympus’s high-quality / fast / telephoto solution  which is a very substantial lens. It is heavy, all metal and can be felt to contain some serious glass. While it is large, it does surprisingly fit very comfortably in the hand, and on the camera when being held and is not oppressively big like a Leica Noctilux on an M9. Olympus has done a very good job of balancing the weight of this large lens with the diminutive weight of the OM-D EM-5 body. The lens offers very quick autofocus, as well as buttery smooth manual focus, which is atypical of lenses for this system, however should be expected of this ~1000 dollar beast of a lens. Bokeh is nothing short of astounding and focused areas are rendered beautifully sharp. If you plan on doing street photography, or any kind of portraits with this camera, the 75mm f/1.8 lens is THE lens to get. If I get a Micro Four-Thirds camera system, this will absolutely be one of the lenses that I buy. The lens also offers silent focusing for both still and more relevantly movie recording. (I am not sure if this lens is weather-sealed but I would assume so)

 

The 60mm f/2.4 Macro is another exceptional lens for the Micro Four-Thirds system. It is built just as excellently as the 75mm f/1.8 lens and offers the possibility of 1:1 macro photography. This lens is fully weather-sealed and features a clever autofocus control dial on the left hand side of the lens barrel. It offers close-focus, full-focus, and far-focus switches as well as a clever fourth switch which sets the lens to its closest 1:1 macro focus setting. This then allows for the user to move the camera closer and further from the subject until it is in focus. This may sound tedious or confusing, and I may have poorly described it, but it is a good feature which makes macro work easier, and certainly faster which can be essentially when photographing things like insects.

 Schneider-Kreuznach

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Schneider is currently doing the same thing as Carl Zeiss in terms of diversifying their lens portfolios. To me, Schneider is personally the finer of the two companies, considering they still make Large Format lenses etc. They also happen to make the excellent series of Leaf Shutter lenses for PhaseOne/MamiyaLeaf. At Photokina Schneider announced plans for expending their 35mm lens line from just Tilt-Shift lenses to regular lenses as well. They also announced plans for Micro Four-Thirds lenses as well (which makes sense they are part of the Micro Four-Thirds consortium). Both of these series of lenses seem to be very high quality, and I was able to get some hands on time with one of the lenses in their new 35mm line up, the 85mm Makro lens in Nikon mount. They will also be producing a normal and wide lens in this series which will be manual focus exactly like the Carl Zeiss lenses. The lenses are amazingly superbly made, and I slightly prefer them to the Carl Zeiss lenses however they are are all excellent in terms of built quality. Unfortunately they did not their Micro Four-Thirds lenses on display at PDN Photoplus. but hey they did have the iPro iPhone lens and case system, lol. 

Schneider had two new lenses that they announced at Photokina 2012 on display. They had a new 28mm f/4.5 perspective control lens in Nikon, Canon, Sony or Pentax mounts. It features 8 degrees of tilt and 12mm of shit and offers the same fully rotatable design feature like the companies other perspective control lenses. The other and more significant series of lenses they announced are a new line of standard lenses for 35mm cameras. The lens that they had on display (still a prototype) was the 85mm Makro f/2.4 Symmar lens. This series is also announced to have 50mm f/1.8 and 35mm f/1.8 variants which are very high quality lenses for DSLR’s. They offer electronic integration for control of the aperture with Nikon (and possibly Canon) mounts. As you can see from these samples, the lens is very however seems to suffer from chromatic aberration (purple/green) but this seems to be something in the coatings which will be worked out before the lenses are shipping, this I have no doubt. However as can be seen in the second shot, the lens offers very nice out of focus elements, and sharpness which are quite pleasant and this lens is a pleasant focal length to have for macro especially if you want to take advantage of it for creative portraiture at close working distances. I am pleased to see these lenses as well as the the other lenses in the series and these along with the new Zeiss lenses may compliment each other nicely for a high quality lens set.

Schneider’s Micro Four-Thirds lenses are a very good sign, because these are some high quality optics which offer autofocus and excellent built quality. There are a ton of very high quality optics which can be used on Micro Four-Thirds however many of them are not purpose built (e.g Leica lenses et al.). There are some higher quality and unique optics available for Micro Four-Thirds like those offered by Voigtlander (manual focus f/0.95 lenses) and SLR Magic’s less high-quality and more creative lens solutions. So Schneider’s lenses will be welcome additions to the line-up of high quality optics like the Olympus 75mm f/1.8 and 60mm f/2.4 and other m4/3′s lenses. Again, do not doubt that they will be excellent, and certainly if I decide to purchase a Micro Four-Thirds these will also be coming home with me.

Cokin Filters

Hidden away in a distributors both (notice I say A distributor to hide the fact that I don’t remember which one) were these new Cokin UV MCUltra-Slim screw in filters. These are absolutely categorically the thinnest filters I have ever seen. You cannot believe how thin these are and pictures do not do them justice. They will be available around January and I am very eager to get my hands on these. If when tested they do not degrade image quality in any observable way (only the worst quality filters do this of course) then they will be unquestionably going on all of my lenses (except PhaseOne but that’s a different story too). It’s always great to find these little things that do in fact make a difference, however are almost never covered by anyone and consequently never noticed, but areundeniably still gems.

 

[Vulture Camera Straps]

Shoot NYC / Hasselblad 

Hasselblad announced the H5D, and the world sighed because they also released the Lunar which we will not even honor by discussing. However the H5D, like the PhaseOne 645DF+ also launched this week with CaptureOne Pro 7. The Hasselblad H5D offers slightly changed esthetics which were partially required for the technological changes which took place. However, we can all agree that it would have looked significantly better in all black. Officially, I was told that the camera looked “too small” in all black (which was done as a prototype) to which I sardonically replied “oh god, who would want a camera to look smaller!”. It would have looked better in all black like everyone else, but oh well we can’t have everything. The user interface which has remained virtually unchanged in the H series camera since its creation has finally been giving a 21st century re-vamp. The bottoms on the digital back portion of the camera (I pause before saying digital back because if its a closed system, is it originally a back?) have been changed and now function considerably better then they did before. The GUI on the back of the camera has also been improved and is much more responsive and fluid then the previous version, although maintaining the same design it is entirely new and much better then previous versions. The camera’s weather sealing has been improved and a number of small places where water could get in have now been sealed. The CF slot door, is no longer a flip open, but must be slid back to be opened and has silicone/rubber weather. The viewfinder has now had the seam treatment (since it is removable from the body) and the contact areas between the back and the camera have also been given this treatment. The camera also runs off a battery that is 50% more powerful, since the new electronics in the camera require more power. However the new battery can also be used on previous generations of H series cameras giving them a longer lasting battery.The camera’s top controls have been rearranged. However most importantly, the back of the camera can now be scrolled through using the two wheels available to the right hand when gripping the camera. These can be used to pan through images (which is considerably more responsive and does not need time to buffer on the higher quality screen on the back) as well as to zoom in and around an image which makes shooting with the camera considerably more pleasant. These controls can also be used when accessing the menus on the back of the camera to make selections.

The firewire port has also received a bit of a revamping which could be a curse or a blessing depending on how you look at it. First the firewire port has a protective door which can be slit back (and will snap back into place when released) which is part of the weather sealing improvements on this camera. The firewire cable itself has also received some improvements. Firstly, it should be noted that any FIrewire 800 cable can still be used with the camera, however Hasselblad has

produced their own cable with a few unique features. Rather then sticking directly out of the camera, Hasselblad has introduced a Firewire cord with a 90 degree bend in it, which helps to manage wires. If this was the only reason for this unquestionably expensive Firewire cord, it would be ridiculous however, it also features a proprietary mechanism (known to us lay folk as a groove) in it, which allows for it to be locked into the camera when inserted. This means that the cord cannot be accidentally pulled from the camera during shooting. Conversely as Hasselblad acknowledged, this means if the cord is pulled, the camera is going down with
it…..So you decide for yourself if this is an improvement or a poor idea. However this new connection is quite strong, another thing which Hasselblad was eager to point out, and demonstrate by inserting the cable and then tugging on it, while smiling, nodding its head and  saying “ah yes see it is quite strong!”. However, a comment was then made that the cable could support the weight of the camera entirely. Of course, being a bit of a sado-masochist I then encouraged/berated the gentleman helping me into holding the camera by the firewire cord in the air. At first he sheepishly did it holding his hand under the camera (not supporting it). However, I now fully engaged in this experience goaded him into removing his hand. Which, to his eternal credit he did in fact do, and the camera’s weight was in fact entirely supported by the cable. So Hasselblad (a term which I have used both to describe the company and the representative helping me) gets a few points for this, but again whether it is useful or not to you is an entirely different matter.

The next time you are in the Kandahar Valley in Afghanistan standing on the precipice of a extremely high cliff creating some fine art landscape images and are ambushed by the Taliban’s crack karate team, and within the tussle, your camera is thrown off the ledge and you are only able to grab the firewire cord right before it slips over the edge and into the abyss, you can feel safe in the knowledge that the camera will be safe and remain firmly affixed to the Firewire cable. 

In all seriousness though, the camera does offer some minor improvements over the older generation of H series cameras which may make it an attractive upgrade, however not as attractive as the H4x since the H4x is in fact an open system camera (meant to appease H1, and H2 owners who were pissed about Hasselblad’s closed and proprietary H3D and H4D systems. The sensors and image quality from the H5D are exactly the same as those within the H4D series of cameras, and the changes are entirely in the body of the camera. And while I, like may others dislike Hasselblad for a (growing) number of reasons, this camera does offer some improvements to those already invested in its system.

Hasselblad also had a few other announcements for us. They have released a new macro extension tube type device, which accomplishes closer

focusing not through adding distance between sensor and lens, but by adding optical elements which decrease the size of the adapter (which is

 

pleasant) making it much more comfortable to use on the camera with almost all of the lenses to allow closer focusing. To me, simply hearing about the idea, and not commenting on its image quality and optical performance, this seems like a very good idea, since I always like to be ableto have the option to get closer to a subject (thinking like when I am using the 80mm, 100mm, or 150mm lenses etc). Hasselblad also released a 24mm f/4.8 lens. It is a 1/3 or more stop slower then the Leica (Super-Elmar-S 24mm f/3.5 ASPH) and PhaseOne (Schneider-Kreuznach 28mm f/4.5 LS D) equivalents which are going to be discussed further in my PhaseOne 28mm lens review which comments on both its namesake and these other newly released medium format ultra-wides. But anyway, the Hasselblad 24mm accepts huge 95mm filters, which is sort of an inconvenience but necessary evil for this lens. It is built and functions in the same was as all of the other Hasselblad lenses, which is to say excellently.

 

Initial Impressions: Leaf Credo Announcement

Leaf Credo Digital Back Announcement

You may or may not be aware that PhaseOne and Leaf (as well as Mamiya) are now all owned by PhaseOne, so there really isn’t any discrepancy between the brands. Until recently when Mamiya and Leaf announced their merger to form the consolidated MamiyaLeaf Group, the lines had been blurred slightly as to who was making what. Since the Mamiya ZD camera, all of the Mamiya branded digital backs had been Leaf backs with the Mamiya brand name painted on them, and lacking the confusing (to me) Leaf naming system for their backs. Now that the merger has taken place (see press release) the Mamiya kits sold at B&H have been re-named to match their “proper” Leaf names for the various camera models. Now the only confusion remains between the brands “PhaseOne” and “Leaf”. People have to understand that these brands are no longer Denmark and Israel duking it out for the lions share of the interchangeable MFDB industry. In reality, at this point they have subdivided their products based on quality to meet the demands of different market segments.

In my opinion, prior to the announcement of the Leaf Credo the lines had been clearly drawn between PhaseOne who were certainly on the “Higher-End” and Leaf who were on the “Lower-End” (Of course, all is relative). As I have made clear in my feelings about the Leaf Aptus backs, based on MY prior experience and how they compared to the Hasselblad H and PhaseOne P+ and IQ series digital backs. Others, especially those who typically  use them in studios, and tethered have different opinions then myself, which they have kindly made abundantly clear to me since the release of my Leaf Aptus II 10 review. Since then my knowledge of the industry and technical side of cameras has grown as a whole and I can better appreciate Leaf’s place in the world, but during that same time I have had little to no more exposure to Leaf Aptus backs, so my opinions of them have remained the same. Simply put, still based on my personal experiences, I believe they are subpar to equivalent Hasselblad and PhaseOne models. That said, people who are actually paid to take pictures use Leaf and find it to be an acceptable shooting experience for them.

Both PhaseOne and Leaf also have special models which are used for specific purposes. Leaf released a UV/IR model which offered the possibility to customize an existing back as well as the “R” series of Aptus backs (the 80mp Leaf Aptus-II 12R and the 56mp Leaf Aptus-11 10R)  where the “R” stands for rotating. In these models, the sensor could be oriented either horizontally or vertically. This offers many advantages for various applications including regular photography but also scientific and reprographic applications. For photographic purposes this is most useful with technical cameras when shooting with your MFDB, since you are shooting with a (in the case of an IQ180 or Aptus-II 12) 53.9×40.4mm or 53.7×40.3mm (no actual difference) chip at a size significantly smaller then the full 4×5″ (101.6x127mm) coverage of most large format lenses you have the option of orienting your back either horizontally or vertically based on your desired composition. With the  6×6 cameras like the Hasselblad 503CW you still have the option of utilizing your sensors full 6×4.5 coverage and then cropping later in post if you still desire a square image. Since shooting vertically with a Hasselblad 503CW is a possibility normally because of its controls (a stretch at best utilizing the motorized hand grip) and not to pointless with a square frame (think about it, if you have to…Hint: it’s a square…) the orientation of the back (if using a Hasselblad back in square crop mode a la CFV-16/39/50) or film plane was a non-issue. However, if using a 6×6 camera with a digital backs 6×4.5 coverage, a rotating sensor can certainly be a useful tool in your arsenal especially during composition of a shot. PhaseOne has the Archromatic+ which is a fully black and white sensor with the Bayer color filter array completely removed which provides an artistically interesting as well as highly technical solution for industrial applications which we will not get into here. It should be noted however that in this one area (the rotating sensor) Leaf does have an “edge” or at least a feature which PhaseOne does not.

Enter Leaf Credo, it is something significantly different from past Leaf digital backs, and a step closer to the design, ergonomics and functionality of the PhaseOne IQ180 series of cameras. My dealer Digital Transitions in NYC has cleverly posted a FAQ about the Leaf Credo based on the questions they have been receiving about it, which I gather have been rather a lot of they have been driven to this point ;) . So, I though I would address some of the questions they have answered and give me thoughts on them:

What camera mounts are available?, Is the H4X supported?, Is the Hy6 supported?

The camera mount options available for the Leaf Credo and its compatibility is something interesting and worth commenting on. It has all of the mounts that you would expect, PhaseOne/Mamiya, Contax, Hasselblad H and Hasselblad V. A side comment, it is still impressive to see that people are still firmly loyal to their Contax 645 systems with it’s unquestionably superior Zeiss optics which yield very special images including two lenses within the range which have amazon f/2.0 maximum apertures (fasted for Mamiya is the 80mm 1.9 C/N lens which is only Manual Focus/Aperture). But I digress, this is what you would expect in this day and age based on the cameras and certainly the mounts people are using most. It is good/expected/important to note that the H4X camera is fully supported as you would hope it would be. If for whatever reason you do not know the H4X camera is a camera upgrade from the H2 for H2 owners (correct me if I am wrong, last I checked you couldn’t straight buy an H4X without an upgrade) which offers the same open platform compatibility of the H2 with the ability to use modern Hasselblad software and lenses (latest versions) with OEM backs. The Hasselblad H4D series of cameras were closed and would only accept and communicate with Hasselblad backs, a move that angered many in the MFDB community and caused them to switch out of the Hasselblad system because they felt wronged.

Interestingly the Hy6 camera platform is not supported with the Leaf Credo which is a de facto death blow to this ambitious platform since it was only ever supported by Sinar and Leaf in terms of digital back compatibility. I do not know if Sinar will continue to make backs for this system but it doesn’t really matter since certainly in the SLR style medium format digital back market their market share is very small. I cannot comment on the build quality of the Hy6 or Sinar backs, since quite honestly I have never been in the same room as either of them ever. Users of the Hy6 ardently love it and the excellent Rollei/Schneider Optics available for it especially including the Rollei Macro 90mm f/4 Schneider Apo-Symmar Makro PQS Lens which many will say is one of the best and sharpest lenses ever made due to its superior optical quality and its effectively 0% distortion. Personally it seems to be a bit awkward to me just from looking at it and knowing the way I shoot (but again everyone who uses it seems quite comfortable and always says good things about it) and the Sinar back’s I have never heard anything especially good or bad about and assume they are adequate and certainly good if you wish to use them with the rest of Sinar’s well integrated electronic shutter systems. All of that said, Leaf’s decision to not support the Hy6 camera system with their launch of a new flagship line of cameras certainly delivers a clear message about the future support (or lack of) for this system.

Is there a rotating sensor version?

Leaf Aptus-II 10R Medium Format Digital Back Rotating SensorAs I addressed above, the rotating sensors which are available on two of the higher-end Leaf Aptus-11 models (again, 80mp 12R and 56mp 10R) serve a specific function for certain applications which are specific to certain cameras and workflows but certainly has more then a “limited” application like exclusively scientific or reprographic work. As Digital Transitions explains ” any V-mount Leaf Credo can be mounted both vertically and horizontally.” which effectively means the same thing with a few caveats. Firstly, the major drawback or difference to this is that the back must be removed and mounted in a different orientation. This isn’t an issue for the user experience per se due to the accelerometer (I think thats what I mean) in the back which senses its orientation and adjusts the display appropriately. However, the only danger/concern/drawback to this is that you must remove the back, which while in a studio is largely perfectly safe….but in the field, especially in many landscape situations enters of a myriad of things such as dust or moisture which can damage a sensor or simply impede the image quality of captured images. As I said for studio work this is less of an issue, since safely removing and re-orienting the back is a non-issue. But in the field it may be a little bit more difficult, however, it can certainly be done with a bit of care. Of course if you know you tend to shoot in one orientation or the other then you can just set it up before hand and be good to go with you Hasselblad V. This feature being only available for the Hasselblad V is alright since this is the camera where the operation is most prescient and also many technical and 4×5 digital back solutions are offered with the option of a Hasselblad V mount for a digital back. I think it is clever that they include this feature, since it is certainly more pragmatic not to mention cheaper swell as involving much less R&D time and money then creating a fully integrated rotating sensor technology. Shows that little bit of extra thought, creativity and problem solving that went into the design of this camera, and is certainly something that I like to see from Leaf’s engineers.

Where does the battery go?

Many people, including my friend and owner of Hartblei.de (which produces the Hcam B1 reviewed here) Stefan Steib, were ardent supporters of one of my most loathed features of the Leaf backs (and their marketing and product photography teams). Leaf Aptus backs all have an externally stored battery which is IMHO negligibly absent from product shots. This is simply because it is not sexy that the battery sticks out of the bottom of the camera like a sore thumb. While this feature is not titillating as relates to the industrial design of the camera, it is so as relates to the possibilities for batteries with the system. The system used Sony batteries (Stefan Corrected me, Leaf Backs are Samsung SBL160 compatible ~ April 25, 2012)  which came in many different sizes, which means that while they accept the standard PhaseOne battery, they could also take larger capacity batteries for extended use. I believe that having the battery internal like the PhaseOne IQ series or now the Leaf Credo is certainly a good thing since it is kept safe and protected from the elements when in the field, and certainly out of the way when shooting in the field or in the studio. So for me its good riddance to the external battery and glad the internal battery is becoming a trend shared by both PhaseOne and Leaf leaving Hasselblad’s CFV series of backs alone with their external batteries awkwardly standing in the corner.

Is there a Fan?

The response form Digital Transitions is “The Leaf Credo uses sophisticated heat-sinking and other forms of passive cooling. No active cooling was required. Therefore no air vent or  fan is present.” which certainly seems to be exciting. In the past my key complaint about the Leaf Aptus backs was its loud and fully-externally exposed fan which I believed could only lead to trouble due to its exposing the insides of the camera to dusts, liquids and so on. Having no air vents would have been good enough. But, if I understand this correctly there is no fan at all, and the camera is capable to cool itself, which is rather good, which means no fan = less moving parts = less to break if dropped or bumped which can only be a good thing and is certainly something that I would love to see in more medium format digital backs if I understand it correctly from this description.

Will Leaf Capture support the new Leaf Credo?

I have heard others complain about it, and in my past experiences as related in my review of the Aptus-II 10, I found this software to be buggy and generally slow and certainly lacking in the user interface department. The Leaf Credo’s use of CaptureOne is a good step in many ways. Firstly, it means Leaf Capture is being phased (excuse the pun) out and while still being supported for Aptus-II and older backs will not received any new updates other then to ensure its compatibility with newer operating systems and computers (as Digital Transitions explains). Secondly it shows the synergy between PhaseOne and Leaf and that they are in fact working together cohesively on product development, which again is a good sign for the future of their companies. In case I was not clear above, the Leaf Credo is only supported in CaptureOne NOT in Leaf Capture.

Is there a Credo similar to the Aptus II 10?

I don’t really care about this, and Digital Transitions (go read it on their site if you want to) discusses the different sensor sizes of the different Leaf Credo 80/60/40mp versions and explains the differences in their sensor sizes. If it matters to you, the information is there, but for most of us it really shouldn’t if you ask me.

How is the Credo related to the IQ?

PhaseOne IQ Versus Leaf Credo

Digital Transitions description of this is rather good, but I will still give some of my thoughts. Firstly, and interestingly the same 40/60/80mp sensors are used in both the Leaf Credo 40, Leaf Credo 60 and Leaf Credo 80 as are used in the  PhaseOne IQ140, IQ160 and IQ180 digital backs. As DT explains, simply put utilizing the same sensors means they have increased buying power which makes components cheaper for them to purchase and will certainly increase their profits which may result in better prices for the end user if we are lucky. Interestingly again the same metal and basic structure is used for the Leaf Credo back’s external housing as is for the PhaseOne IQ series of cameras. This is good since it is a very robust, ergonomically sound, and aesthetically pleasing design which is highly functional. Another key difference, which is a hold-over from the Aptus series is the full touch screen available from the Leaf Credo. Although not explicitly stated I believe that it is implied that the screen quality is the same on both the Leaf Credo series and PhaseOne IQ series  which again is certainly a good thing since the IQ180′s screen is superior and the Aptus-II’s were certainly lacking in my opinion. A difference however is the Leaf Credo also has touch sensitive strips outside of the image area allowing users to pan and zoom without having to touch the area where the image is. This is another one of the really great features of the Leaf Credo which means that there are fewer ways to smudge the screen and degrade the viewing quality. Interestingly, the Leaf Credo is entirely devoid of hard buttons, while the PhaseOne IQ series still maintains 4 hard buttons around the frame of the screen as well as for the power button.

The backs also offer different user interfaces which will appeal to some more then others. I am sure the Leaf Credo’s UI is also very much improved. Again, I found the Leaf Aptus-II’s UI to be very difficult and excessively complex to use compared to the aptly described “Leica-esque” simplicity and minimalism of PhaseOne’s user interfaces which make them a joy to use. I am sure the Leaf Credo’s UI is much improved over the Aptus’s while not compromising features that Leaf is known for. Some key software differences exist including Leaf’s proprietary Profiles and Curves which effect the way an image is captured and processed even for RAW images. The Leaf Credo also does not include PhaseOne’s excellent Sensor+ which extends the ISO range of the IQ series. The Credo does not contain focus masks, auto-horizon and auto-keystone features which are trade marks of the “higher-end” nature of the PhaseOne digital backs.

Digital Transitions Logo

And of course as Digital Transitions notes, they are offered at different prices with different warranty options, as well as different service/support channels. And also, interestingly Israel is still managed to remain relevant since the Leaf Credo is manufactured in Israel and not Denmark, althoughI suspect this is liable to change as PhaseOne consolidates MamiyaLeaf, but I could be wrong and have no hard evidence to suggest their leaning one way or another.

~

I am very excited to see the Leaf Credo back since, while a step down from PhaseOne’s IQ series, offers many great improvements which in my opinion were essential changes to the Leaf Aptus series of cameras. While I have no interest or plans to change to this back, it will certainly be interesting to play with. I have talked with my guys at Digital Transitions as well as my (very few) friends at MamiyaLeaf about possibly getting me a copy of one of these backs to review, since it is very new and exciting. Digital Transitions offers some upgrade paths through Leaf from the Aptus II series and of course will give you an upgrade discount (like they did with my Hasselblad H3Dii-39ms) I purchased my PhaseOne IQ180 from them. You can contact them through their website http://www.digitaltransitions.com via E-mail, by Phone or in person and I can assure you that they will respond in a timely manner to your inquiries.

Hartblei Hcam Video Review

My Youtube video review of the Hartblei Hcam is now online.

My video review of the Hartblei Hcam B1 is now online and can be viewed here:  http://www.youtube.com/watch?v=-p3XhLf_OF4 and sample images are currently available on my Flickr (flickr.com/brianhirschfeldphotography) the full in-depth review with even more sample images will be online within a few days.

New website design and Articles re-published

New website design published

also because the comments had been hacked and some articles had over 5000 comments (sorry I’m not that popular) and this had been bothering me for some time. So I saved all articles and images to my computer, and then reposted them, along with their original publish dates.

Leica Store Mayfair and Leica S2 In-Depth Review

Originally published: September 23, 2011 and featured on Leicarumors.com

Leica has stores? yup. They have all of their products in them? yup. And they actually sell them? yup*. That last yup* indicates a slight caveat to this answer. While they have every lens on display, they don’t have every lens in stock. In fact they are severely lacking in stock, just like every other place on the planet. They can’t be faulted by this and it is the worst thing I have to say about them .

Granted, store is a bit of a tease because you enter and are immediately awed by the fact that they have EVERY LEICA LENS (on display). You can see, you can touch, but you can’t buy. Everything you dream of from a 50 Summilux to a 90 Summicron. but you can’t buy them. The staff is very good as well as knowledgable about their products (as they should be). Not only do these people work in the store but they are also photographers in their own right who have actual practical experience with the products. Since Leica is rather expensive the fact that some of the employee’s own multiple M9′s with assortments of exotic (even for Leica) glass, astounds me. If you walk into the store with one of their products, they love you that much more. This is not to say they will not help you if you don’t own a Leica, but having one certainly doesn’t hurt in terms of overall hospitality. I didn’t have anything to do for the afternoon so I decided to walk over and check out the place.

90mm Summicron mounted on my M9. (Left to right) 75mm Summicron, 50mm Summilux, 35mm Summicron, then my humble 35mm Summarit

They are very happy to let you mount any lens on your camera as well as let you take demo shots with it. This is one of their key purposes. The Leica stores are there to provide access to their products and get the word out about them. Granted this is undermined by the fact that they are tucked away in an alley in one of the most exclusive areas of London (Holland and Holland is also on this Alley/Street though).

Having the Leica 50mm Summilux (a lens I have had on order from my camera store Camera Wholesalers of Stamford, CT since I purchased the Leica M8 when it was new) was an ethereal experience. In my opinion there is absolutely nothing like shooting with this lens. The Leica store employee who was helping me strongly agreed with me furthering my point by saying that the full-frame Leica M9 was made for this lens and that this lens was made for the M9. The 35mm Summicron was also another interesting experience. I had almost exclusively used my 35mm Summarit on my M8 and M9 and had an intimate knowledge of it. The 35 Summicron is as well built and smaller but not too much so that it causes a problem. It is unobtrusive in every way. Wide open it does have better performance then the 35mm Summilux to some. I am not sure, but I might be slightly more in the 35mm Summicron’s camp. Both lenses are superior and if you use them stopped down the way you will normally use any lens the difference would be negligible.

The Leica 75mm and 90mm Summicron’s were more interesting to me though. I had never used a telephoto lens on the M9 (other then a brief encounter with the 135mm). There is no legitimate reason to own both of these lenses. Either way it is most likely going to be the longest lens you will own. That is unless your Audrey Toutou and this is a Chanel No.5 Commercial. Or if you are an Asian business man who insist on having every current Leica lens even the useless 90mm Macro (read on for more about this lens). Both of these lenses are exceptional but the 90mm Summicron is the standout. It is as sharp as you can get without cutting something when you get it in perfect focus wide open. Stopped down it is unbelievable. The 75mm Summicron is as good as any other lens, it is sharp, superiorly built, and performs like a champ. However the 75mm focal length is a little to close to the 50mm focal length for me to see any practical use for the focal length. I don’t know if I will go out of my way to purchase a 90mm Summicron since the Leica M system really isn’t about the telephoto end focal lengths. They are there, you can do great things with them, but as the focal lengths increase they become increasingly inconvenient to use because of their size blocking the viewfinder.

The only Leica macro lens for the M system, here mounted on my M9 with the viewfinder adaptersThe 90mm Macro-Elmar f/4 is one strange lens. In fact it may be the strangest lens I have ever seen, particularly from a company, rather the photography company. There is nothing to say that this lens is not a legitimate “Leica” lens, it is. Its just as Marty Feldman while playing Igor would say “Abbynormal”. Now on Earlier Leica cameras there were fewer frame lines and viewfinder magnification was a problem for certain lenses. This is why earlier lenses like the 35mm for the M3 camera had pieces that were put in front of the camera’s viewfinder and its coupled rangefinder.

The Assembly is the first place where this lens gets weird. The fact that the word assembly can be justly applied to this lens should be noted. When I say assembly I am not referring to the painstakingly detailed process of creating the elements and fitting them all together to create a masterfully constructed optical instrument….In effect I am only talking about mounting the lens on the camera. However this is not a simple on-the-fly process like it is with almost any other lens on almost any other camera. First off you remove whatever normal lens you have been using. Then you swallow your pride and mount the viewfinder modification piece (I’m sure there is a more technical name for it). Then you mount the lens. Then you reposition the lens. This is because you have to extend the front part of the barrel to be able to use it as a macro lens. Now is when it really gets weird. So you have mounted the adapter on the camera, you have mounted and position the lens., but your not done. To use this lens in any useful way you have to use the vertical viewfinder adapter for the M9. Now this isn’t a Hasselblad V series camera, or a Rollei TLR, its a Leica M; a rangefinder. You take this weird little piece of metal and glass and you look at it. You see there is a wheel that you can spin and figure out it must be screwed onto something. However you can’t really figure out how to put it on the viewfinder. You then think that somehow you need to take off the rubber piece over the viewfinder. BUT NO! it goes on over it. Getting even stranger after you have screwed this onto your camera, look through it and its everything you don’t want. Confusing and disorienting. However after a little time you get used to it. You get used to it just in time for the novelty value of it to wear off and you to realize there are better ways to spend $5,000.00 in the world of Leica.

now on to the most interesting aspect of the Leica store as well as this article….The Leica S2 review.

THE LEICA S2

At the time that I was in London in Mid-July, I had still not decided what new medium format digital capture system I wanted to upgrade to. It was up in the air between the Leica S2 and the PhaseOne 645DF and IQ180 back. Since then I decided to purchase the IQ180 and it is currently as of 8/3/2011 on order. I mad this decision because for effectively the same price (with the trade in value of my Hasselblad H3Dii-39ms). The S2 is a great camera with a superior sensor to any 35mm Camera and standard sized medium format megapixel count. Anyway back to the point right now, I was at the Leica store admiring all of the lovely Leica M products that I wouldn’t be able to get for the next 100 years because of backorders when I brought up the Leica S2, which I had seen they had multiple examples of on display. The employees were just as eager to show off this system to me, especially after I had expressed interest in it as an upgrade (really more of a sidegrade sensor wise) to my Hasselblad system. Then I was able to play with the Leica S2 and all of its current lenses as if I was in a camera store. I say as if I was in a camera store for a specific reason.

When I say “as if I was in a camera store” because there is a specific way that you look at a camera in a camera store. You are able to touch, hold and use it. Sometimes you may even be able to take it outside, but overall you take some snap shots and then you hold it a while longer while talking to the salesperson and then you either buy it, decide to go home and look at the files, or you don’t buy it. This process is curt and can rarely give you the depth needed to understand the camera and its capabilities and shortcomings. The Leica store employee I was talking to told me that the store also had a professional services division. This means that they had a service center, as well as an office where they had classes and other events for professionals. The employee told me that I could contact someone in their office and would be able to have a studio session with the camera (Leica S2) where I could get a bunch of sample images that I could look at and help to make a decision about the camera. I just want to say one note about this. At no point while I had my demo-session with the camera was there any pressure to buy the camera or any mention at all. I found this particularly interesting and relaxing especially since it is a significant investment and they did go to some trouble to give me the opportunity to have the demo session. At one point I was asked more out of curiosity by the man giving me the demo session where I thought I would buy the camera if I chose it, I told him I would probably by it in New York since thats the closest place to me, and that was the end of that topic it was not mentioned again.

Now onto the Demo session, I contact the man I was told to contact about setting up the demo session and left a voicemail. It turned out he was on vacation with his family however he still contacted me later that day and said that he would not be able to conduct the private demo session himself, but he would find someone else who had extensive knowledge with the camera system who could conduct the demo. He was able to get photographer Ian Farrell to conduct the demo session. He is the man in the picture above. There are other images that can be seen on my flickr through this link: http://www.flickr.com/photos/brianhirschfeldphotography/sets/72157627068534709/ . He was great and was able to talk about the system in detail because he uses it and was able to show off all of the different features that it had available. He also brought some of his Elinchrom quadra lights with him (since the Leica store had sent their lights out for repair) which of course made it a studio and a place where I could get images under controlled lighting to understand the camera better. Then we walked around outside and I was able to get some natural light images as well. Outside we got some looks because it was  a big camera in a young guy/kid’s hands with a grown man behind him carrying the bag. Overall it was a very good experience.

Now onto some thoughts about the camera. In the past I have had the opportunity to hold the Leica S2 in the traditional “camera store” way at Camera Wholesalers in Stamford on a Leica day as well as at PDN PhotoPlus in NYC. These had given me an idea what the camera felt like and how it was built. As is to be expected with any Leica product it was really, really well built. Every part of it felt solid and it is heavy but not too heavy. It is lighter and smaller then any other medium format system as well. In London I had the opportunity to use this camera with the vertical grip. A vertical grip is something that I really like about professional DSLR’s like the D3 and the Ids series of cameras. The Leica S2 and the PhaseOne 645DF are the only current production medium format cameras that have the option available (the older and possibly superior Contax 645AF system had a vertical grip as well). Holding the Leica Vertical grip on its own it felt a bit flimsy however when it was on the camera it felt just right. When I mentioned this to Ian Farrell he agreed with me. He also added that if they created the grip out of metal like the rest of the body of the camera, it would have greatly increased the weight. While it is made of plastic it is still fully weather sealed like the rest of the camera and attaches sturdily to the base of the camera. In pictures it makes the camera look significantly larger however in reality it is less pronounced then it appears in photographs. It works perfectly for what it is. The built quality, ergonomics and basic functionality of this camera are superior in every way to every other system currently available. But it is still not the best camera on the market.

The Image quality is good on this camera. It is not the biggest and best that they have now that there are 60-80mp sensors on the market. When the camera was announced it had a standard sensor for medium format with the highest resolution the 60mp category being lead by PhaseOne’s landmark P65+ (and some impossibly named Leaf equivalent). The camera preforms admirably at all ISO’s. This is something that cannot be said of most medium format DSLR’s which top out their total ISO’s at 800 and their usable ISO’s at 400 typically. The Leica S2 though tops out at 1250 and produces highly usable results at this ISO (see my flickr page for comparison shots of all of the S2′s ISO’s). Here it definitely gets major points. However the complaint I have with it especially after using even higher mega-pixel backs like the PhaseOne P65+ and Hasselblad H4D-50 is that it doesn’t have the same ability to crop the way a 60-80mp sensor would. I found that this can also be said for the 50mp Hasselbald which I will have a review of up soon. The image quality is far better then that of any 35mm DSLR and is on par to better then most medium format sensor’s. The area that differentiates the S2 most from all other cameras is its lenses which effect the image resolution greatly.

In the Leica S2 particularly the lenses are the real show stopper for many reasons; I will focus on a few of the key ones. First off is the fact that is has AUTOFOCUS! This is a first for a Leica Camera. For years the CEO’s and designers had clung to the manual focus mantra. With the Leica R series, a highly underrated system technically speaking (in terms of lenses) however the system largely flopped due to a lack of features. Particularly autofocus which was already standard on the Asian imports. Leica knew that they couldn’t market a Medium format DSLR camera that did not have autofocus to the professional market.  Well they did this and the autofocus system is as good as any other medium format system; which is to say crappy. But if everyone else is crappy and your slightly better then crappy you get points, and they did. The autofocus works just fine, just know its limits and timing. The Leica S-Line of lenses preform better then any other lenses I have ever used. They add so much to the camera it is almost impossible to describe their impact. They make the system and they are the main selling point. Aside from being distortion free (on the wider end) and free of vignetting at all apertures they handle ghosting and flaring amazingly well. The image I show at the beginning of my Leica S2 review section is the perfect example of this. The image was taken with the 35mm Summarit S lens. The composition includes the subject as well as the backlight (there were two lights the key light with umbrella was in front) With other lenses in other systems there would be ghosting and flaring issues from the light (aberrations caused by the light intense light interacting with the lens elements that are recorded with the image). As you can see from this image there is absolutely none. You have to zoom in on the larger quality image (which can be accessed by clicking on the image) where you can zoom in on the light and see how clearly defined the edges of it are. This is truly the magic of the lens design. They are perfectly designed and absolutely perfect, if only they could be used on a PhaseOne 645DF. The only true problem with these lenses is the fact that there are so few of them. Since the Leica S2 is the newest medium format system which was created from scratch. Yes there are a few adapters which can be purchased that allow you to use other lenses like Hasselblad V series lenses on the S2 body. However they are manual focus and there is obviously no communication between the lens and camera. Leica has recently released their own adapters which allow you to use other companies lenses (Mamiya 645, Hasselblad and Pentax). These adapters are decidedly better built and definitely help to expand the system to users of other lenses from their Film cameras. However the system does not have enough lenses at the moment. Hasselblad and Mamiya currently have around 20 lenses available for their cameras respectably. All of these autofocus lenses cover focal lengths from ultra-wide (28mm remember this is medium format) to telephoto (300mm which is equivalent to around 180mm’s in 35mm language). The S2 only has a 35mm, 70mm, 120mm and 180mm lens. Three of these are at the aperture of f/2.5 which is at least a stop faster then many of their counterparts. There are other lenses in the roadmap. From conversation I understand that next will likely be a 28mm ultra-wide, a tilt-shit, and a zoom lens. The system will develop, but that takes time. TIme which is recorded all the time by cameras in split-second increments and if you don’t the capability to do what you want when you want to it is meaningless whether they will be announcing a new lens in the future.

The Leica S2 is a great camera. It is not the best but it serves a specific function which it does better then any other can. The only other camera that defied the traditional medium format form factor that had the sensor built into the body of the camera and they were inseparable was the Mamiya ZD DSLR (google it this way and you will find what I am talking about which isn’t the digital back version). I don’t include the Pentax 645D in this statement because it still has the basic form factor of a medium format DSLR even though it is still self contained. The Mamiya ZD was clunky and difficult to use and consequently did not catch on and that is why you never saw an updated version of it in this form factor. I think the Mamiya ZD was an admirably first effort. It established that this kind of camera could be made and could generate some interest. Leica was able to truly take a risk (particularly financially especially after the disastrous R8/R9) and Leica’s financials since the release of the S2 speak for themselves. While during this time the M9 was also released. The great successes can be seen by the Leica S2′s success. The Leica S2′s success helped to create even more hype around the brand which certainly did not hurt the M system and other optical divisions that share the Leica brand name.