It’s no secret that Hasselblad has been in much financial trouble lately. And it’s also no secret that the company appears to have lost its direction following a large number of private equity CEOs, who frankly, appear not to understand the photography market at all. So it was with some surprise that I opened my email getting off the plane home from London to find that not only had they made an interesting product, but one that hinted at a return to common sense and a somewhat brighter future, too.
Having a bit more time with the relatively new Pentax 645Z under my belt has given me the opportunity to try a couple of things I’ve been curious about: long exposures, and a more thorough evaluation of the three SDM lenses currently available for the 645 system. The former is probably only of interest to landscapists, architectural photographers and people who have severe allergies to controlled lighting, but I feel the latter is probably a critically important topic in itself. Let’s start there.
Four cameras, 166 megapixels, no sensor smaller than 36MP and 36x24mm. It’d have been nice to get the Phase One IQ250 and Leica S along for the ride too – sadly there’s no Phase distributor in Malaysia and nobody from P1 has ever replied any email I’ve sent though. So we’ll make do with four: two from the old CCD guard and two from the new CMOS challengers. Lining up on the right are the Pentax 645D (33x44mm, 40MP) and Hasselblad CFV-39 on a 501CM body (49x37mm, 39MP) against the Pentax 645Z (33x44mm, 51MP) and Nikon D800E (24x36mm, 36MP). Perhaps we should have gotten one of the 41MP Nokia PureView phones along for kicks, too. That said, the rationale behind these choices is as follows a) I had access to them; b) to build a more or less complete system would be roughly the same price; Nikon and Pentax new lenses are more expensive than the used screwdriver Pentax FA or Hasselblad V glass; by the time you add everything in, the 645Z is obviously the most expensive option – but also arguably has the highest IQ potential. Welcome to part two of the Pentax 645Z review – the first part can be found here.
After a bit of – drought, it’s review bonanza week: at the opposite ends of the spectrum. First we had the Sony RX100 Mark III, and today will be the first part of the Pentax 645Z review; to be split into an assessment of the camera itself and a relative comparison to its predecessor, a previous generation CCD-equipped Hasselblad CFV-39 digital back, and the Nikon D800E. As far as I can tell, this is the first review of a production 645Z, anywhere. This part alone is going to be a 4500+ word monster, so grab a large coffee and settle in for a bit. Unfortunately the weather at the moment in Kuala Lumpur is extremely hazy – 120+ APIs thanks to various burning vegetation – which is not ideal for camera reviewing. However, as the 645Z is part of my personal equipment, bought at retail from Malaysia, it will be with me for some time and be subject to mid and long term updates – much like the Nikon D800E.
Two of the most interesting cameras in recent memory – the 645Z and RX100III, at completely opposite ends of the imaging spectrum but both pushing image quality – are arriving this week and I have a fundamental problem: a lack of light. Kuala Lumpur is blanketed in a horrible 100+API haze again that’s eating light and turning the sky into a giant drybox; right after two weeks of fantastic crystal-clear weather during which we had stars every night. I’ve made the most of the windows of opportunity, but in an ideal world I’d have liked to push the dynamic range of the thing a bit more.
The Nikon D4 might be old news now that the D4s has been around for a couple of months, but given the diminishingly incremental improvements between each cycle, there’s less of a penalty for opting for an older camera than you might think. And even less again once we consider that for most applications, the point of sufficiency was passed a long time ago. A nearly-new D4 made its way into my hands a couple of months ago during the Melbourne workshop. At a shade over US$3,800, it was just too good a deal to pass up. Read on for my summarised thoughts after spending a couple of months taming the beast.
This will be the first in my new review format for ‘light’ reviews – pieces of equipment that perhaps don’t necessarily need a full blown magnum opus, but benefit from some context in deployment and typical usage. A short piece on the D4 will follow next.
One of the few lenses in the Canon system I’ve long been jealous of is their 70-200/4 IS (in addition to the 17TSE). Until not so long ago, Nikon users have been missing a light/ compact high quality telephoto option. Sure, there’s been the 70-300/4.5-5.6 VR, but that was only a decent performer up to 200mm; anything else was emergency territory. And it simply wasn’t that good on the D800E, nor a pro build. Finally, we have the AF-S 70-200mm f4 G VR ED IF (what a mouthful). I’m going to address two questions in this review: firstly, is it any good, and secondly, f2.8* or f4? I suspect the latter question is going to be of interest to many still sitting on the fence.
*It’s important to note there are two versions of the 70-200/2.8 G VR. I’ll go into the differences in more detail later.
If you’re going on a trip that’s probably never going to be repeated (let’s assume it isn’t for a job where you’d have to bring everything you could possibly need and spares) – what do you bring? The tried and true, or the new gear you think might work? And more importantly, how does one balance it out against the current draconian carry on limits, and one’s endurance in the field? After all, there’s no point in bringing the best camera only to leave it in the hotel…read on and see how my bag did in Havana. I made a very conscious choice to travel as light as possible and leave behind the tripod; it was a last minute change mainly due to luggage space challenges and a lack of foreseeable night/ long exposure photography.
Caveat: this review was produced with a final production beta camera and lenses; this means that whilst we’re probably 99% of the way there, there will almost certainly be some small changes before the camera finally ships. All sample images were shot in DNG and converted via ACR, with the 18-56 and 23mm native T-mount lenses.
Let me say up front that whilst I have been very clear that innovation has been somewhat lacking in the camera industry across the board of late, there have been a few standouts that do so precisely because they push various aspects of the game – be it image quality or more rarely, ergonomics. I’ve long had the feeling that Apple’s latest camera implementations – touch once to lock exposure and focus, again to shoot – have really distilled the essence of the camera down to its bare minimum. It uses technology not to pad out a spec sheet, but to free the photographer to concentrate solely on composition. Shame then, that none of the more capable cameras have really gotten this implementation right – until now. I believe the Leica T is the first generation of a paradigm shift in the way we control and interact with our cameras.
Image from Pentax UK.
A couple of days ago, Pentax threw down the gauntlet to the other medium format digital camera makers in the form of the 645Z. It uses the same ~50MP 44x33mm CMOS as the Hasselblad H5D-50C and Phase One IQ250, but with one critical difference: unlike the Hasselblad and Phase One, it’s feasibly within the reach of a whole load more people. And it isn’t just the shocking price – $8,500 plays $29,000 (Hasselblad) or $37,000 (Phase) – it’s the UI and operating gestalt, too. I think what we’ve just seen is an early game changer.