Medium format cameras reveal depth and texture in a way smaller sensors can’t touch. That’s the kind of look most photographers chase when they want their portraits to feel dimensional instead of flat. It’s not about sharpness alone. It’s about how focus rolls away from the subject into blur, and how that shift shapes mood.
Coming to you from mathphotographer, this thoughtful video explores the tactile feel of using a Mamiya RZ67 Pro IID paired with a Phase One IQ4 digital back and the Mamiya 110mm f/2.8 lens. You see every step of the workflow without commentary, just the sound of the shutter and the rhythm of shooting. The video focuses on people photography, showing how medium format handles portrait depth and tone. The silence in the process works to your advantage. You watch how deliberate each move has to be when focusing on a subject’s eye with a 151.3-megapixel sensor and such shallow depth of field. It’s slow, patient work that rewards precision.
The footage and examples highlight both the promise and frustration of the setup. When the focus lands on the eyelashes, the detail is almost unreal. When it misses, it’s obvious. Some shots nail the focus perfectly, others fall just short. You see the challenge of keeping both model and photographer perfectly still with a wide-open aperture at f/2.8. Even slight breathing shifts the plane of focus. It’s a careful dance between patience and instinct. The results, though, show the medium format advantage: micro-contrast in the skin, the way hair edges melt into background, the creamy separation you can’t fake in post.
The later section turns into a study of bokeh itself. You can see how sharp lines dissolve gradually rather than abruptly. It’s a visual explanation of why sensor size matters, not just for resolution but for the feel of focus falloff. With a 110mm lens on a medium format sensor, the blur looks smooth, natural, and full. That gentle fade from focus to softness gives portraits an organic quality that feels closer to how human eyes actually perceive distance. Check out the video above for the full rundown.
4 Comments
"You can see how sharp lines dissolve gradually rather than abruptly. It’s a visual explanation of why sensor size matters, not just for resolution but for the feel of focus falloff."
Was hoping to see this demonstrated in the video, but he just kinda says the falloff is related to the sensor size. I haven't been able to see this is my side-by-side tests. Full-frame is definitely capable of producing shallower depth-of-field because of the availability of faster lenses.
He discusses the notion that medium format has smoother transitions between in- and out-of-focus than smaller sensors, but that makes no sense and isn't demonstrated... like smaller sensors have more abrupt transitions?! How would that be??
On paper, the Phase One IQ4 digital back captures true 16-bit images while my Nikon D800E (36 megapixels) and virtually all present day full-frame cameras capture 14-bit images. While 16-bit captures four times the tonal information of 14-bit, the difference is often negligible in practice because human eyes are unable to perceive the difference. If he can see it, great; however, I certainly can't detect anything extraordinarily special from watching a You-Tube video. I can barely, and in only a few cases, see the difference between 8-bit images and 14-bit images processed in 16-bit mode. Is it worth the exorbitant cost of medium format? Not in my opinion. Maybe for printing wall mural size images because of its higher resolution, but transition of tonal values or depth-of-field is a poor argument, in my opinion. I'd have to see proof, on paper, at something larger than 16x24 to believe it. And if I could barely detect a difference, my customers will never ever see the difference.
https://blog.kasson.com/the-last-word/the-16-bit-fallacy-why-more-isnt-…
Like film bigger is better. Some things never change.
That is simply not true though. Yes bigger sensors get you more detail, sharper images and shallower dof but defining what is better simply by technical details is a flawed statement. It's like saying all street photographers would produce better photos if they all used medium format. If bigger is better, lets just ditch our cameras and only use large format. Photographs are much more than just clinical, technical qualities.