As one might expect (though perhaps not quite so soon after the H5D-50c announcement), Hasselblad has taken to Instagram to announce the H5D-200c MS, a 200-megapixel, multi-shot variant of the H5D-50c. The camera, which can still produce normal 50-megapixel stills at 6200 x 8272 pixels, also ads 4- and 6-shot capabilities for applications such as fine art reproduction, product photography, and more. At its highest resolution, the 200c MS produces massive and glory-clenching 600MB, 16-bit TIFF files.
Our friend, retoucher and commercial photographer Clint Davis is no stranger to this site. He was nice enough to share this awesome behind-the-scenes video from this recent ad campaign. The most impressive part aside from the images themselves? The fact that he only had about five minutes per setup while working alongside a separate video shoot.
Having recently moved from a DSLR into medium format digital, I can affirm the transition isn't a cheap one. Besides shelling out tens-of-thousands of dollars for a body and digital back, you've also got to buy a new set of lenses which average around $4k each. Add tether cables, tripod mounts, additional batteries, and filters, you're in the hole for the equivelent of a home mortgage. Every once in a while, the manufacturers will offer incentives and/or savings and for Hasselblad, July happens to be one of those times.
Today, Hasselblad launched the CFV-50c -- a medium format back using the same 50-megapixel CMOS censor in the H5D-50c that can be attached to any existing V-system camera. With no external cables required to connect the backs, the back is incredibly well priced at €11,000. While we're not quite sure what that means for the US market, the new back seems poised to be an incredibly affordable 50MP CMOS medium format system.
His client list reads like a who's-who in iconic businesses: Pearl Vision, American Standard, Shell Oil, Virgin Galactic, AOL, Wells Fargo, Salesforce, Red Bull, Minute Maid, Costco, and Allstate. He has even photographed celebrities like Kevin Spacey, Richard Branson, and Al Gore. No doubt you've seen the remarkable work of Chris Crisman in the past, but photographers want to know how does he do it? What does his studio look like? What equipment does he use?
Late last year I was contacted by one of my magazine clients to shoot their upcoming cover with Panic At The Disco front man Brendon Urie and it had to take place across the country in Las Vegas in about a week (I am NYC-based by the way). I scrambled to find some cool locations in the region, knowing full well I did not want to shoot in some cramped hotel suite. Little did I know that with some good researching and shrewd negotiating, I would find some of the coolest locations I have ever photographed, and just moments from the Las Vegas strip.
A few weeks ago, I had the pleasure of testing out the Phase One IQ250, and so I thought I would put together a practical write up of my time spent the Phase One IQ250 Camera System, the Capture One software, and whether or not either one has found a permanent place in my workflow.
This past week I've been sleep deprived, socially inactive, and holding a camera in my hands for more than I ever have in my entire life. You see, this past week I've been working with RGG EDU to film my first tutorial series to go on sale at the Fstoppers store this summer. Though learning a lot about my own work and process, I think I learned the most when I used a rented PhaseOne IQ250 system for one of my shoots.
Lauri Laukkanen, photographer and editor over at SLR Lounge, recently posted an image to the Fstoppers Facebook group that's been getting a lot of buzz. The popular image came out of a personal project that he developed and shot over the course of just two days. The behind-the-scenes video shows Lauri and his team on location at Yyteri, Pori (Finland), their extremely minimal setup, as well as the final images.
It's easy to dismiss the amount of difficulty involved in location shoots. A few years ago, Joey Lawrence (JoeyL) shot a personal project of portraits in Ethiopia. Whether traveling by van, boat or Indiana Jones plane, it's great to have the opportunity to see how hard the literal journey was on the way to the figurative photographic destination. Just handling the equipment was a pretty substantial undertaking.
The iconic Windows XP wallpaper "Bliss" is widely considered to be the world's most viewed image. Though most of us are familiar with the beautiful image that has graced our computers at one point or another, not many are familiar with the story of how it came to be, and fewer yet that it is in fact a real image captured on film! Photographer Charles O'Rear shares with us the story behind how he created the image with nothing more than his Mamiya RZ67 and a roll of Fuji Film.
Pentax Japan has added a product page for the all new medium format 645z complete with snazzy marketing graphics and a full overview of all the specifications. What was all the more interesting to see however were the sample images they included. These are the first official images released by Pentax and they feature not only the 645z but also the much talked about all new 90mm f2.8 Macro lens.
According to PhotoRumors, the Pentax 645z medium format digital camera is coming April 14th and will be absolutely loaded. The replacement to the 645d will feature a 52.99Mp CMOS sensor like the new offerings from PhaseOne and Hasselblad, shoot ISO 100-204,800, and shoot full HD video and 4K in "interval mode". In addition, the 645z is rumored to not have an AA filter (like the D800E, D7100) for better sharpness, live view with contrast AF and focus peaking, and a new 27-point (25 cross type) AF system.
We live in a time where photographers and filmmakers must combine powers to be competitive in todays advertising market. Recently a huge fashion client approached our production company to capture concurrent motion and still ad campaigns with supermodel Lily Aldridge, but we had to do it all in under 10 hours with 2 complete hair and makeup changes and 12+ outfits. Advertising creatives today need to be able to shoot stellar visual content and assemble bulletproof productions.