Announcing the Hasselblad H6D, in 50 and 100MP flavours

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Out of idle curiosity, I wondered what they shot the product images with: EXIF data reveals a H5D-200c MS

It turns out those April 7 rumours were true after all: there’s a new H in town. The H5 I’ve been using for the last couple of months was announced in 2012, with the CMOS version arriving mid 2014. Given the long product cycle times in medium format land, four years is not too bad between iterations. In any case, following Phase One’s XF-100MP announcement and innovative suite of features, Hasselblad would have to do something not to get left behind. The important features are here: 50MP on 44x33mm, 100MP on 54x40mm, leaf shutter up to 1/2000s with new/updated lenses, a new 3″ VGA touch panel, improved live view, RAW video out (Apple ProRes) at 1080P30 on the 50MP version and 4K30 on the 100MP version. Firewire is now USB3.0, along with HDMI out and audio IO. Oh, and no more CompactFlash – it’s now SD and CFast. Lastly, there’s a new version of the tethering and workflow software – Phocus 3.0.

Today’s post is going to be a bit more than just a spec sheet: it’s also a little analysis of the state of medium format at the moment.

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To filter or not to filter?

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For some odd reason, one of the most frequently asked questions I encounter is which, if any, filters I use on my lenses. “Especially to protect the Otuses and other rare glass”, I’m asked. I would point such questions to an article here, except I found I didn’t have one – today’s post is to rectify that oversight. The answer might surprise you somewhat…

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The Switch

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Advance warning: this post contains nothing but gear p***, since it is an equipment-centric post after all…and I make no apologies whatsoever for that. And that thing isn’t a carrying handle, it’s the HTS.

I suppose many of you will have seen this coming: I have switched primary camera systems from Nikon to Hasselblad. And you’ll also probably know I’ve got extremely good reasons for doing so, even more so since this is a significant commitment by any standards. I’ve also had several conversations with various people in the organisation that have convinced me that their future is also going to be pretty exciting indeed. Judging by the number of people who commented and emailed me after the previous recent posts on medium format (here, here) – there’s quite a lot of curiosity and more medium format shooters here than I previously thought. Today’s post is an explanation of that rationale, and the comments will be an attempt to answer any questions from the curious.

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Premiere and review: The Olympus PEN F

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After being limited to 16MP for nearly four years, we now have a marginal increase in resolution – to 20MP, matching the Panasonic GX8 announced last year (and quite possibly sharing the same sensor, too). The PEN F is another retro-tastic design clearly inspired by the original film half-frame PEN F, right down to the knob on the front vertical face of the camera. It is also yet another subdivision of a niche by Olympus of its EVF cameras – we have the photo-centric E-M1, the video-centric E-M5II, the budget-centric E-M10II, and now the PEN F. One thing that struck me throughout the test period was that the camera really feels as though it’s geared towards the JPEG shooter (or, more likely, the social media crowd). It’s the first all-new ‘serious’ camera from Olympus in a couple of years – so how does it perform?

Thank you to Olympus Malaysia for the loan. Note that all images were processed in Olympus Raw Viewer 3, and then run through my usual photoshop workflow; as such it’s difficult for me to make objective and comparative statements about image quality as this is not my normal workflow and one cannot compare it to other cameras easily. What I can do for now is assess how this particular workflow performs, and that’s what I’ll be doing later. Additional images will be posted to this flickr gallery.

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Review: The Nikon D5500 (or, a solution to the compact 50-e problem)

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Yes, it still balances. Not taped up because I hadn’t gotten around to it at this point.

I’ll be the first to admit this is an unusual camera for me to bother reviewing, and an even more unusual one for me to land up buying and using fairly extensively. But I think all will make sense by the end of the post. The D5500 is the fifth and latest in the line of consumer-grade articulating-screen Nikon DSLRs, starting with the D5000. It has a single control dial, a fully tilting and reversing touch LCD, the 24MP AA-less Sony sensor of its senior D7200 sibling, 5fps 14bit (compressed, though) shooting capability, and the lightest, smallest, most compact body of any Nikon DSLR to date. Did I mention it has a carbon fiber monocoque to keep weight down and rigidity up?

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Xmas 2015 hardware picks

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Let it never be said I don’t put my money where my mouth is. The full recommended gear list is here.

Another year is coming to a rapid close (where did it go?) and we find ourselves at the end of one of the best years in some time for both the photographer and the equipment collector. We’ve seen some genuinely innovative technology, some yawns, some WTFs, and some boundary pushing to find that last 0.01%. What follows is both my year in review and a wishlist in case you don’t know how to spend your year end bonuses…

Note: some of you may have seen a different post go up this morning. I apologise – that’s meant to be for another day, and once again the WordPress scheduler has messed up after my computer changed timezones…

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Battle of the best 20/21s: Sigma 20/1.4 Art vs Zeiss 2.8/21 Loxia

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Images courtesy respective manufacturers, composited to roughly correct relative size – my samples had to return home before I got a chance to put them together in the studio for th usual product shoot, and I’m still awaiting delivery of my own personal lenses.

I’ve recently had a chance to shoot a) the best two wide angles available at the moment, and b) shoot them against each other on the same camera body. This is not a direct comparison. There are however limitations to the testing – very limited time* and no way to mount one without. Furthermore, the lenses were both final preproduction prototypes, which could mean they are either good samples because they’re hand adjusted…or there’s some variance, because…they’re hand adjusted. Tests were performed on a Sony A7RII body mounted on a Arca-Swiss P0 head and RRS24L tripod – i.e. sturdy – and released via IR remote. The adaptor used was a Metabones Nikon G-NEX model, tested and found to be good with various other lenses including the Zeiss 28 Otus. However, it’s worth noting that the shorter the focal length, the more sensitive a lens is to small skew because only very small movements are needed to change effective focusing distance. I’m sure many other limitations in methodology can be found, but remember we are aiming for the best we can do in field conditions without giving one lens or the other a sensor-based advantage. Observations must therefore be taken as preliminary.

*Literally, about an hour after dark during a recent visit to Sigma HQ in Aizu, Japan. Crops are 100% where stated; I will not be posting full size images because IP rights sadly don’t seem to mean a thing online.

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A guide to Zeiss lens choices for Sony FE

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The challenge we have now is no longer one of insufficient lenses: it’s almost one of too many. Having spent the last few months navigating the options and trying to figure out which of them work best for me, I now feel qualified to write this post which will a) explain the differences, b) make some recommendations both for the various series of lenses and within them as a whole. It’s worth noting that these comments and lens options apply to mirrorless cameras in general, though I’ve chosen Sony FE specifically because a) I own the A7RII, and b) there are several ‘native mount’ options that are available for Sony that aren’t for other systems – the first three on the list for starters, and won’t adapt because they require electronics*. I do honestly wish they’d thought out some of the naming better, though – it just lands up being both confusing for photographers and a bit of nightmare for their marketing team.

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Close, but no cigar: how to design mirrorless right

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Too large/expensive; too slow and unresponsive, power hungry; no finder or IS

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Limited sensor resolution; overambitious image quality and fragile feel; too many steps to get shooting

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Fixed lens; great UI with terrible ergonomics; classical controls don’t work for digital, sensor limits

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Ergonomic and workflow challenges; IQ limitations from sensor size; needed two years to fix FW

And this is barely half of the mirrorless cameras I’ve used and reviewed on this site in the last couple of years. I still have not found a complete replacement for the DSLR, and I suspect there are many other photographers in the same situation. It isn’t for want of trying or stubbornness; it’s because the product simply does not exist. We’re not asking for the unicorn here, either: there are ergonomic/UI/UX/engineering solutions that have already been implemented and received well in other cameras – just not in the same one. And to clarify (since judging by email and comments, many are missing the point): this post is not to complain mirrorless isn’t a DSLR. It’s recognising that mirrorless is the future for so many reasons – but we are still suffering from stupid design that has already been solved. All of these problems beg the question: just how difficult is it to get it right?

Important: Read this first.

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OpEd: The camera as a luxury item – or, a tale of two cameras

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Here’s a question I’ve been pondering for some time: how is it possible that these cameras (and others) are so similar in some ways, yet wildly different in terms of commercial success? And moreover, what can we deign from our crystal balls about the state of the camera industry? Read on for a little analysis from a photographer and a businessperson’s point of view.

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