Medium format camera что это
Digital camera back — Kodak DCS420 digital camera, consisting of a modified Nikon N90s body (left) and a digital back (right) shown here separated … Wikipedia
Digital single-lens reflex camera — Nikon D700 full frame (FX) digital SLR camera … Wikipedia
Leica Camera — Coordinates: 50°32′35″N 008°23′25″E / 50.54306°N 8.39028°E / 50.54306; 8.39028 … Wikipedia
Zenit (camera) — This article is about the Russian camera brand. For the astronomic or geodetic instruments directed to the zenith, see Zenith camera. : For other uses, see Zenit (disambiguation). Zenit is a Russian (and formerly Soviet) camera brand manufactured … Wikipedia
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Пядвак уже заменяет цифровой 645-ый фулфрейм?
Мне вот что интересным показалось:
BAD KREUZNACH, GERMANY, COPENHAGEN, DENMARK and TOKYO--(Marketwire - September 28, 2009) - Schneider Kreuznach, Phase One A/S and Mamiya Digital Imaging, Ltd. today announced that they are collaborating on design, development, manufacturing, and delivery of superior quality, precision digital lenses for the medium format camera systems used by the world's most discriminating professional photographers.
Шнайдер - imho потому что делают конкурента Лейке S2.
мне пока вариант 645AFD + старые фиксы + родной задник на матрице Dalsa кажется вполне хорошим. потому как цвета бесподобны кажется, раньше, когда не заморачивались настолько проблемой шумодавов и прочего, картинка была естественнее.
Не силён в английском или не туда смотрел но чё-та не понял чья оптика, то-ли Мамии то-ли Шнайдера (вроде упоминается там).Ну собсвенно сумма в 6000$ это за "сбор" стекло-туша-пизма/искатель + ц.попа ? Или за что-то ещё.
Если первое то с каким стеклом и собстна шо за попа в сём "ките" ?
Насколько я понял, вчера Мамия и Шнайдер только объявили о начале сотрудничества в области среднего формата. С Мамии и Фазы камеры и цифрозадники, со Шнайдера - легендарная оптика. На выходе суперкамеры с суперзадниками и супероптикой.
Воин Каск писал(а):
Шнайдер - imho потому что делают конкурента Лейке S2.Кому покомпактнее возьмут за меньшие деньги пятак текущей версии, кому нужен нормальный средний формат и оптика-легенда возьмут мамию+шнайдер за +/- те же деньги, что S2.
либо следующий Марк. +- 4 тыщи тут роли не сыграют ))
кстати, Фаза расширяется.
у нее уже технологии Leaf и линзы от Цейса в обойме Hartblei
Мамия сама тоже очень недурна, но здесь плюс в том что это еще и доступное решение. У Лейки вооще ничего доступного нет.
Теперь еще линейка Шнайдера.
либо следующий Марк. +- 4 тыщи тут роли не сыграют ))
кстати, Фаза расширяется.
у нее уже технологии Leaf и линзы от Цейса в обойме Hartblei
Мамия сама тоже очень недурна, но здесь плюс в том что это еще и доступное решение. У Лейки вооще ничего доступного нет.
Теперь еще линейка Шнайдера.
а нам чо? нам только хорошо! байонет-то мамиевский сохраняется ))
Leica S2 занимает дэцель другую нишу и не конкурирует с 645ми камерами напрямую.
medium format camera
Digital camera back — Kodak DCS420 digital camera, consisting of a modified Nikon N90s body (left) and a digital back (right) shown here separated … Wikipedia
Digital single-lens reflex camera — Nikon D700 full frame (FX) digital SLR camera … Wikipedia
Leica Camera — Coordinates: 50°32′35″N 008°23′25″E / 50.54306°N 8.39028°E / 50.54306; 8.39028 … Wikipedia
Zenit (camera) — This article is about the Russian camera brand. For the astronomic or geodetic instruments directed to the zenith, see Zenith camera. : For other uses, see Zenit (disambiguation). Zenit is a Russian (and formerly Soviet) camera brand manufactured … Wikipedia
Simple and clear medium format
After mirrorless fever it's time for the medium format.
Sometimes the digital medium format for some users is something scary and incomprehensible. I suspect that the main difficulty lies in the modular structure of some medium-format cameras, which consist of several separate nodes, such as a digital back, viewfinder, chassis / body and various specialized peripherals. Usually, these cameras look like a monster-like look and inspire young neophytes with fear and horror, not only in appearance, but also at their cost.
But nowadays, 'simple' non-modular digital medium format cameras have already begun to appear, which very, very much resemble conventional system cameras. They are easy to understand and operate, and also have an almost classic look, typical of conventional CPC and UPC.
FUJIFILM GFX
Mirrorless FUJIFILM GFX with sensors 43.8 X 32.9 mm (often rounded to 44 X 33)
All FUJINON GF LENS Lenses
All these lenses are designed to work on cameras of the FUJIFILM GFX series: GFX 100, GFX 100 IR, Gfx 100s, Gfx 50s, GFX 50s II, Gfx 50r
- R (Ring) - a separate ring for iris control
- LM (Linear Motor) - linear focusing motor
- WR (Weather Resistant) - all-weather lens type
- OIS (Optical Image Stabilization) - built-in optical image stabilization
- Macro - Macro Lens
- TC (Teleconverter) - teleconverter
There are also manual solutions from third-party manufacturers:
Pentax 645
Digital slr Pentax 645 with sensors 43.8 X 32.8 mm (often rounded to 44 X 33)
Hasselblad x
Mirrorless Hasselblad x with sensors 43.8 X 32.9 mm (often rounded to 44 X 33)
All Hasselblad XCD Lenses
Leica s
Digital slr Leica s with sensors 45 X 30
Do you know any other similar cameras?
The frame area of the Leica S with 45 X 30 sensors is 1350 sq. mm and is almost the same as 43.8 X 32.8, which equals 1437 sq. mm. The only significant difference between 44 X 33 and 45 X 30 is the aspect ratio of the frame, in the first case 4 to 3, in the second - the classic 3 to 2.
Crop factor for 44 X 33 sensors, it is Kf = 0.79X, and the frame area in 1.67 times more than the frame 36 X 24. It is considered very simple: (43.8 * 32.9) / (36 * 24).
For example, when switching from cropped cameras with Kf = 1.6X for Canon cameras with an APS-C sensor (22.3 X 14.9 mm) to full-frame Canon cameras (with a 36 X 24 sensor), the sensor area increases 2.6 times. It is considered very simple: (36 * 24) / (22.3 * 14.9).
So the transition from a crop with an APS-C sensor to a full frame 36 X 24 should feel much more than going from a full frame to 'medium format' with a sensor size of 44 X 33 mm.
But in practice, the sensations from the medium format are much more than what the calculations show.
A lot of digital backs also use 44 X 33 mm sensors. But, of course, there are backs with a larger sensor size, for example 53 X 40 from Phase One or Mamiya.
Actually the 44 X 33 is not quite a medium format, but rather a crop from the 'smallest' medium format 56 X 42 mm (645 format). But in our time, everything that is larger than the classic 36 X 24 is already called the medium format.
I really like the idea of a mirrorless medium format. Lack of giant medium format mirror boxes allows you to significantly reduce the size of the camera. Yes, and a short working distance allows you to get lenses with a slightly smaller size. In the end, for example, FUJIFILM GFX 50r with a pancake lens FUJINON GF LENS 50mm 1: 3.5 R LM WR (analogue 40 / 2.8) weighs just over 1 kg. Most importantly, such a set will cost around $ 5.000, which is already comparable to some 'regular' full-frame cameras.
Medium digital format is a different world, a world of a different photography and a world of photographers of a different plan. But with the rise of modern technology, the medium format is getting closer and closer to the average photographer and amateur photographer. The question is, is it worth it for the amateur photographer to stare at the medium format, or is it better to leave it to the professionals?
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Comments: 54, on the topic: Simple and clear medium format
and let's not confuse the under-crop from the fuji with its 33 * 44 with a normal sph 56 * 56 mm?
and SUDDENLY if you make a fuji under 56 * 56 mm, then it will be that whopping three kg.
and let all pensioners wear glasses and read not only the first line, but also the rest of the items on the technical specifications and other cameras, so as not to write such nonsense
However, the medium format is 4,5x6 and 6x6, not the above. Let's call it FFF then, since the narrow format has become FF. Manufacturers need to start producing matrices with a size of 24,5 * 36,5 in order to also call it a medium format - it is also a type larger than FF.
Oleg, and let you keep your toilet education for loved ones? Nowhere among the listed TTX is it indicated why the matrix a little larger than small-format 35 mm suddenly began to be called the medium format (well, of course, except for marketing lullabies, which are nurtured by a generation of aggressive idiots))).
So if the first comment is inadequate, what kind of response can you expect? The cameras on the list are truly impressive, and trying to artificially belittle them is supremely ignorant.
Yes, you are out, sir reasonable .
Now let's talk about the Phase one backdrops. )))
the only medium format that I photographed was Kiev-60. Knowledge was about "0")
Now it is difficult for me to imagine working some 56 * 56 with a "portrait" lens more than 120 mm in the open (at least 2.8). Is it really possible to put the entire eye of the model in the grip? )))
Oh, I remembered. I still took pictures on photographic plates 9 * 12 in the laboratory .
It is quite realistic - Kf 0.55, the equivalent focal length in terms of FF will be 66mm, the equivalent (from the point of view of depth of field) aperture - 1,55 Somehow they cope with 85 / 1,8 (1,4) people, so it is possible here too. But yes, the depth of field is already getting pretty narrow.
In general, somehow yes, it's funny. Pentax 645 implies a 6x4,5 cm frame. Hassel - 6x6 cm. Lenses seem to be considered exactly how exactly this size is considered, still, no? And what's the point of carrying all this huge and heavy wealth on the hump for the sake of increasing the sensor area by 1,5 times?
It's just that all this logic about “professionals” and “amateurs” turns out to be something very similar to esotericism. There, too, there are such “practices” which are real Practices. Those who go to the astral plane, see, curse and kill can right here on the spot, bewitch there, change their fate. Where they are found and what they do, no one knows. But everyone knows about them and everyone talks about them.
Pentax 645 in the figure means 44 * 33, like Hassel had such backdrops, if you do not have money for this, do not carry it, let those who can afford such equipment carry it.
Somewhere on the forum on medium format cameras:
- Fu, crop, why is it needed, ISO works only up to 10000, you only need to take the full format 60 * 60, only there is volume and atmosphere .
Every single medium format poison these fables. In the west, studios buy backs, and photographers there are just like the operators of these gizmos. The medium format does not honor the photographer. Fuji interesting turned out
Pentax costs 2000 bucks, which is not much. Amateur SF for the poor
I'm sorry, but the Pentax 645Z is really cheaper than the others, but not 2000, but exactly 4000 dollars, in China, I think it will be more expensive in other countries .
SF is, first of all, gigantic resolution and detail. They don’t buy such cameras, but rent them for specific tasks. For the price, like a kopeck piece in my city.
Sorry, but not everywhere. Only for static and where there is a lot of free time. Those. what you shoot in one shot on the SF will require gluing, adjustment in the case of mosaics, and in any case is unlikely to give a comparable photo latitude (or dynamic range, as they say now) and in any case, a different picture. Imagine if, for example, the movement of smoke, vehicles or clouds is in the frame. Still, we saw Windows screensavers with incredible sharpness of grass, pebbles and clouds, as if filmed with a solid lens. I’m silent that often (but, of course, not always) a shot on the SF can be made with one camera handheld, while the “mosaic” will require a tripod and a panoramic head.
The main thing that I don’t understand is why the digital medium format has a 4/3 aspect ratio. Like smartphones, soap dishes, micros and picture tubes TVs.
Despite the fact that the film SF is quite Orthodox 2 to 3 (6 × 4,5 and 9 × 6) and 1 to 1 (6 × 6)
6 * 7? No, not heard!
6 * 4,5 is not 2 * 3
And I will say honestly: I also can not afford SF: D
The medium format is like Lenin's precepts: everyone knows what they are, but no one knows what they are.
Not all. Previously, everyone prayed for the full frame and its presence immediately equated the owner with the guru of world photography. Crop? You don’t understand anything in the photo. And it didn’t even depend on the fact that 50 1.8 of the first generation hung on this FF at best, and at worst some sort of 24-85 shaggy production years.
Now the same hysteria will be around the Federation Council. Here the owners will divide the rogue into “wow, you're with a crop” and “what a horror, he has a cropped crop . ”.
And the most annoying is that he (SF) is slowly getting cheaper :)
I tried to shoot portraits in the studio in parallel on a Fuji GFX 50R with a 63mm f / 2.8 lens (roughly speaking, an analog of 50mm f / 2.2 in terms of full frame) and on a full-frame Canon with a Sigma 50mm f / 1.4 Art lens.
Fuji did not impress at all. The only noticeable advantage is the image resolution, but if I really needed 50 megapixels, I would prefer to use the Canon 5DS (r).
What I disliked most about Fuji was the color rendition. If the Canon shots in color did not require any revision at all (and in general they differ in correct and subjectively pleasant color reproduction), then with Fuji the situation is more complicated - it was not possible to get an acceptable result for me even after trying to make color adjustments by selecting a suitable profile when “ developing ”raw, as well as adjusting the color using HSL, and then trying to use the adjustment layers Color Balance and Hue / Saturation.
Maybe somewhere in Fuji’s landscape photography with better color, but there are doubts.
In terms of usability, Fuji feels like a brick in the hands. And not because of weight or size, the dimensions are about the same as Canon's 5D series, but Fuji itself has a rectangular parallelepiped body shape. Any Canon DSLRs I've used are much better suited for holding them in the hand. If someone is used to using old rangefinder cameras (which, however, are noticeably smaller in size), or modern mirrorless cameras of Fuji-like shapes, they may be familiar.
Lenses. For the medium format, you do not have to wait for anything at least relatively inexpensive and with a faster aperture than 2.8 in the general case.
For Fuji, there is nothing affordable, such as an analog of the Canon 40mm f / 2.8, 50mm f / 1.8 - f / 1.4, 85mm f / 1.8.
There is no high-aperture optics with apertures 1.4-1.2. The most Fuji has to offer is 110mm f / 2 - something like the 85mm f / 1.6 counterpart.
There are almost no long-focus lenses - there is only one 250mm, and you can not even dream of any 300-400mm, which is quite usual for a full frame.
I see a tendency - those who want to save money, as well as fans of an interesting lens design, connoisseurs of bokeh and a narrow depth of field do not use Fuji's native medium format lenses, but screw third-party full-frame lenses through adapters. At the same time, they find out that quite a few full-frame lenses have sufficient margin at the edges of the frame to form a “medium format” image, and this is often at a higher aperture ratio, and in some cases at a lower cost, compared to Fuji optics.
Actually, this process of “crossing” different photographic components suggests that medium-format Fuji is now not so much a full-fledged self-sufficient system, but rather a relatively inexpensive version of a “medium format” digital back for interesting lenses of different times and manufacturers, a utilitarian part of a photo designer for lovers of homemade products and experiments. .
But the still rather high price does not imply any massive use, and the insufficient difference from the full frame and the lack of significant advantages make the transition to such a “medium format” not very interesting and in demand.
I admit that practical meaning in the medium format can be found either if you need a sufficiently high resolution, more than 50 megapixels, or when using a larger sensor than Fuji, Leica and grain-free Hasselblad now offer.
This "junior" mirrorless medium format may differ slightly from full frame, but it does not give the feeling of sufficient novelty, unlike the transition from digital crop to digital full frame, as correctly noted in the article itself.
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