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Pentax 645Z Review -- First Impressions



by Mike Tomkins

Preview posted 04/14/2014



Στιγμιότυπο 2014-04-15, 3.04.15 μ.μ..png






Back in early 2010, Pentax launched the 645D, a medium-format digital SLR that it had been developing for the previous five years. It might have been a long time coming, but it was nonetheless exciting for it. The 645D leapfrogged rivals Canon, Nikon and Sony with two-thirds greater sensor area than a full-frame sensor, yielding a unique look and shallower depth of field. At the same time, it was vastly more affordable than offerings from medium-format makers like Hasselblad and Phase One, yet rugged enough to be used in the field.


The reason Pentax -- since taken over by Ricoh -- could offer its camera at a more attractive price-point than other medium-format products was pretty simple. Much of the design work for the 645D could be shared with the company's mass market, APS-C DSLRs, where Hasselblad and Phase One -- neither of which sells consumer SLRs -- had to bear the entire cost of development solely with their medium format products.


While Pentax lacked (and indeed, still lacks) a full-frame DSLR, the 645D served both as an aspirational model for the enthusiasts to look up to, and as something genuinely different to attract pros for whom that resolution and medium-format look was more important than high-speed capture. And boy, did it ever offer a lot of resolution by 2010 standards. (In fact, it's only recently that we've started to see cameras with smaller sensors catching up.) When we first put the 645D in our lab, we were amazed to find that it picked up details we'd never even noticed in our test scenes -- details that we couldn't even see with our own eyes, until we pulled out a magnifying glass to confirm them.


Just like the medium-format film cameras in whose footsteps it followed, the 645D was never going to be a mass-market camera. Medium-format is an even smaller niche than it was in the film days, but the 645D was nonetheless a very important camera for the company, and its followup -- the Pentax 645Z -- is no less important.


Just like its predecessor, the Pentax 645Z shares much with Ricoh's flagship APS-C DSLRs -- and with four years of development having taken place on the APS-C front since the 645D was launched, there was no shortage of new features for it to inherit. But the most important feature of them all is at its very heart, a brand-new, Sony-sourced 51-megapixel CMOS image sensor. It's coupled to a PRIME III image processor, as first seen in the K-3, and the 645Z also inherits that camera's 27-point SAFOX 11 autofocus and 86,000 pixel RGB metering systems.


The 645Z's new image sensor allows a spectacularly wide sensitivity range, especially by medium-format camera standards, covering everything up to ISO 204,800 equivalent. It also provides both live view and Full HD movie capture capabilities, neither of which its predecessor was capable of. And performance has taken a big step forwards, at least compared to other medium-format cameras. This still isn't a sports shooter, but it'll shoot at almost triple the speed of the 645D. You'll also be able to review photos post-capture in less than half the time.




Nor do the improvements stop there. The Pentax 645Z sports a larger, tilting LCD panel with higher resolution, an improvement that's doubly useful given the new live view function. And its shutter life has been doubled to 100,000 shots, giving you a lot more photos across which to spread the cost of your camera purchase.


Pentax has also gifted its new medium-format camera with the K-3's support for high-speed USB 3.0 SuperSpeed transfer and UHS-I compatible Secure Digital cards, as well as the clever Pentax-badged (but rather unappealingly-named) Flucard, which allows remote live view and remote control via Wi-Fi. And like the K-3, you can also shoot 4K interval movies with the 645D. These won't include sound, but Full HD movies will capture stereo audio either with an onboard mic or an external one, complete with automatic or manual levels control. And the list of new features goes on, as you'll find out in our Technical Info section, coming shortly.


Available from June 2014, the Pentax 645Z is priced at 6,127.45€ body-only. Let's take a closer look at what's new.

Walkaround. Seen from the front, the Pentax 645Z looks a whole lot like its predecessor, the 645D. In fact, the most notable difference is the brand-new, silver badge on the front of the viewfinder prism housing, which used to be black. Look a little beyond the surface, though, and this is clearly a new body. It's grown in depth by a tenth of an inch (4mm) and in weight by 2.5 ounces (71g), neither of which will be noticeable in the real world. Like its predecessor, this isn't a small camera -- but it's also not as large as you might think it from the photos.


In terms of height and width, the Pentax 645Z differs little from typical full-frame cameras like the Canon EOS 5D Mark III or Nikon D800. It's actually a little bit narrower and a fair bit shorter than professional cameras like the Canon EOS 1D X or Nikon D4S, in large part because it doesn't have a portrait grip.





Where the 645Z loses out in the comparison is in its depth and weight. The medium-format sensor that pays dividends in other areas needs a much larger mirror box, so as to provide room for the reflex mirror to swing aside before each exposure. That extra depth -- around 1 to 1.5 inches more than the 1D X and D4S -- is greatest at the lens mount, rather than the hand grip, giving the 645Z a chunky, blocky aesthetic. Weight is about a quarter more than the D4S (and similar to that of the 1D X), at 54.7 ounces (1,550g) loaded and ready to go.


But that's a small price to pay for a sensor that's about two-third larger in terms of surface area than a 35mm full-frame sensor. And on the plus side, it also gives the Pentax 645Z plenty of room for external controls that have been designed for use even with gloved hands. That's something you'll appreciate if you take advantage of its freezeproof design. It's also weather-resistant and dustproof, with 76 seals throughout, just like its predecessor.


And there's little question that this is a pro-grade body, either. It has a die-cast aluminum chassis beneath a magnesium-alloy exterior shell -- not a hint of polycarbonate in sight.




Seen from above, there are a few differences between the Pentax 645Z and the earlier 645D. There are three new User modes on the Mode dial, replacing the single mode of the earlier camera and making it easy to access multiple settings groups that you've configured ahead of time. The line of buttons down the left side of the body have also been tweaked, with the SD buttons replaced by AF Area and Lock buttons, and the order changed to move the Bracketing Mode button forwards. There's also a new stereo microphone whose two ports straddle the sides of the viewfinder prism housing, and a two-hole speaker a little further back on the right side of the housing.





Moving to the rear of the 645Z, you'll find the majority of the changes -- and they've largely been made to accommodate the new LCD monitor. It's both larger at 3.2 inches in diagonal, and adds a tilting mechanism for viewing over the head, at waist-level, or low to the ground.

The row of buttons that previously sat beneath the display are gone, with their four functions assumed by the arrow buttons of the four-way controller. The same buttons are also used to adjust the autofocus point location, courtesy of the same AF point button seen previously in the Pentax K-3. (This control also doubles as the card selection button in playback mode.)


The column of buttons that used to line the right of the LCD, meanwhile, have become a square cluster at the base of the camera's right rear. One of these, the Delete button, also gets a second purpose as a Movie Record button when the camera is in Movie mode. And since AF point selection is now achieved elsewhere, the dial to the right of the viewfinder that previously served this function now acts as a dedicated Still / Movie control dial.






Looking at the left of the left side of the 645Z's body, the standard-definition composite video output has been removed, and in its place is a new 3.5mm stereo microphone jack. The remaining ports under the same rubber flap are much the same, although the USB port is now a USB 3.0 SuperSpeed type, and the arrangement of the ports has changed. Note that there are also still two Secure Digital card slots under the door that sits above the connectivity compartment, and these are now UHS-I card compatible.






And finally, we move to the right side of the camera body, where there's but one change of note. The wired remote control terminal, previously found under a flap on the rear of the body, now sits in the handgrip. It's a logical move, given the lack of space elsewhere. If you're shooting with a remote, you're not going to need to hold the grip, after all.


And that about does it for the Pentax 645Z's physical changes. Let's take a look at what's inside the camera!


Pentax 645Z Review -- Technical Info


by Mike Tomkins

Sensor. The most important new feature of them all for the Pentax 645Z is at its very heart, and shared by rivals Phase One and Hasselblad: The same 50+ megapixel image sensor seen in the recently-launched Hasselblad H5D-50C and Phase One IQ250. By way of comparison, the 645D used a 40-megapixel chip, so all other things being equal, linear resolution should have increased by about 14%. Sensor dimensions are 43.8 x 32.8mm.

It's a Sony CMOS chip, which is in itself big news. The 645D used a Kodak-sourced CCD sensor, but in the runup to the one-time film giant's bankruptcy, it sold its image sensor business. The simultaneous switch to CMOS means that for the first time, the 645D is capable of offering a live-view feed on its rear-panel display, if you want an alternative to the TTL viewfinder. That's handy given the new articulated LCD panel, and it also allows for movie capture. But more on those in a minute.


For Pentax, due to slightly different masking from Hasselblad and Phase One, it's classed as a 51-megapixel chip, rather than the 50-megapixel rating in the rival cameras. It has exactly the same 5.3 micron pixel size, though, and the same manufacturer-claimed 14 stops of dynamic range. And just like in the original 645D, there's no antialiasing filter to rob the sensor of its finest resolution. That means you'll want to watch out for moiré / false color in fine patterns, but it also means you get the most out of the sensor. (And for pros, that's probably more important than occasional moiré.)


Processor. The new image sensor is coupled to a PRIME III image processor, as first seen in the Pentax K-3. Compared to the PRIME II processor of the 645D, Ricoh says the new variant is approximately five times faster. That extra horsepower manifests itself in a couple of ways.


Performance. Firstly, there's been a handy step forwards in terms of burst shooting speed. The Pentax 645Z still won't win any awards for burst rate, and it's clearly not a camera aimed at sports shooters. With a manufacturer-specified burst rate of three frames per second at full resolution, it still provides only half the performance of the company's entry-level APS-C DSLR in that area.


But then, given the extremely high resolution and the fact that you're talking about a medium-format image sensor, you really can't expect blazing performance. It's likely fast enough, though, and that's what counts. The 645Z's 3fps is close to triple the 1.1 fps provided by the original 645D, and double or more the speed of Hasselblad and Phase One's competing medium-format models.


And despite the increase in speed and resolution, buffer depth has also doubled if you're shooting in JPEG mode, with a total of 30 JPEG frames now possible in a single 3fps burst. Raw shooters will manage 10 frames, down just slightly from the 11-frame buffer of the 645D.

One other performance improvement of note is that, where you had to wait a full 2.3 seconds to review each image you'd shot with the 645D, the Pentax 645Z will show its higher-res images to you in just 0.9 seconds after capture.


Sensitivity. Together, the sensor and processor also provide an absolutely whopping step forward in terms of sensitivity. With a range of ISO 100 to 204,800 equivalents on offer, the Pentax 645Z matches the Canon EOS-1D X and Nikon D4 -- but it does so with a much larger sensor, which should hopefully translate to better noise levels if you downsample your images to the same resolution as either camera. And that's comparing to full-frame. Compared to other medium-format models, there's simply no competition. The 645D topped out at just ISO 1,600, while Hasselblad and Phase One won't allow anything over ISO 6,400 from the same sensor.


It remains to be seen how the 645Z does in the real world, and we have to note that we've yet to see any high ISO output from the camera. If it does as well as we're hoping, though -- and Ricoh is clearly confident, not hiding any portion of this sensitivity range behind an ISO expansion function -- then this could be big news for low-light shooting with medium format.


Lens mount. As with its predecessor, the Pentax 645Z sports a 645AF lens mount compatible with DA645, D FA645, FA645 and A645 lenses. Courtesy of an optional adapter, you can also mount Pentax 67 lenses.


Lenses. While the mount itself is unchanged, there's a big development on the optics front. Although the 645D has been a great option for existing 645 shooters, the selection of lenses in the US market has been limited, to say the least. Only three new lenses have reached market since that camera began shipping, and while many other lenses were still in production and readily available in the Japanese market, they weren't really making it stateside.

That's now been rectified, and counting lenses originally designed for film, Pentax 645D and 645Z shooters now have a total of 17 lenses (12 primes and five zooms) to choose from, plus three more zooms still on the roadmap. Everything from 33mm to 300mm is covered without gaps by the zoom offerings, while the primes range from 25mm to 400mm. If you prefer to think in 35mm-equivalent focal lengths, that's everything from 26mm to 236mm-equivalents covered by the zooms, and 20mm to 315mm-equivalents by the primes.


And among these are five f/2.8 primes, while the zooms are all constant-aperture types with either an f/4.5 or f/5.6 maximum aperture. One drawback to the newly-available FA-series lenses, lack weather-sealing, SDM autofocus motors, or image stabilization. Instead, they're all screw-drive, unstabilized lenses. (In fact, there's only one stabilized lens available for the 645-series cameras, full stop -- the HD Pentax-D FA645 Macro 90mmF2.8ED AW SR.)


Lens correction. Like its predecessor, the Pentax 645Z sports in-camera lens correction, allowing it to correct for distortion, lateral chromatic aberration. However, it can now also correct for peripheral illumination and diffraction, taking it a step beyond the 645D's capabilities. The function works with DA645, D FA645 and FA645 lenses, but not with A645 or adapted 67 lenses.


Dust removal. If you regularly change lenses, you can expect dust to get inside your camera sooner or later. (Most likely, sooner.) Ricoh has retained the same DR II dust removal system used in the 645D for the new Pentax 645Z. It uses a piezoelectric element that vibrates the sensor cover glass at high frequencies, shaking free any stuck dust particles.


To help you decide when a more detailed cleaning is needed, the Pentax 645Z also retains its predecessors' dust alert function, which helps you to locate stubborn dust particles on the sensor for manual cleaning.


Metering. The Pentax 645Z sports a new metering sensor, or at least new to medium-format: Ricoh was able to share technology -- and development cost -- with its APS-C flagship DSLR, the Pentax K-3. Gone is the 77-segment metering sensor first introduced with the K-7 back in 2009. In its place, the 645Z sports a much finer-grained 86,000 pixel RGB CCD metering sensor.


That's more than 1,100 pixels for every segment that was on the earlier sensor, which allows for much more precise metering. And since it's an RGB chip, it can also recognize color information, allowing it to help out with subject identification. (More on that in a moment.)

Branded as the Real-Time Scene Analysis System, this metering system also has a wider working range of -1 to 21 EV with a 55mm f/2.8 lens at ISO 100. By comparison, the earlier sensor had a range of EV 2 to 21, making it rather less sensitive in low light.


Although the new sensor is much finer-grained, the choice of metering modes is unchanged from earlier cameras: Multi-segment, Center-weighted, or Spot. An exposure lock function is available, accessed with the AE-L button at the top right corner of the camera's rear, nestled in the top of the thumb grip. You can also specify up to +/-5EV of exposure compensation in 1/3 or 1/2EV steps, and bracket 2, 3, or 5 exposures.


Autofocus. Another area in which Ricoh has made a big step forward is in the 645Z's autofocus system. Here, too, tech was shared with the Pentax K-3: The 645Z inherits the exact same SAFOX 11 autofocus sensor used in that camera. (We're not yet sure if it was able to do anything to spread the autofocus points across a wider area of the image frame than in the 645D, though -- that camera's AF points were rather crammed in the middle of the frame.)


SAFOX 11 represents the first major step forwards since the SAFOX VIII chip that was introduced 11 years ago with Pentax's very first digital SLR, the *ist D. The 645Z is only the second DSLR from Pentax not to use a variation on the SAFOX VIII layout.


SAFOX 11 provides much better autofocus granularity, thanks to an increase in the number of autofocus points to 27. Of these, the 25 central points in a 5x5 array are all cross-types, sensitive to detail in both the horizontal and vertical axes. Only two points, located in the vertical center at far left and right of the array, are linear points sensitive only on one axis. The centermost sensor as well as the points directly above and below it are precision points, capable of focusing with an f/2.8 aperture.


In contrast, the 645D had an 11-point, SAFOX VIII-derived AF sensor, dubbed SAFOX IX+. That provided only 11 AF points, nine of them cross-types, and lacks any f/2.8 precision points. SAFOX 11 also functions better in low light, with a working range of -3 to +18EV, where SAFOX IX+ bottomed out at -1EV.


Autofocus controls. Just as it did in the K-3, Ricoh has rejigged the Pentax 645Z's autofocus controls, probably because of the added complexity of the new 27-point AF system. While it will take a little getting used to for 645D shooters, it will quickly become second nature. The Focus Mode dial sits just where it did, a little to the left of the viewfinder, and still selects either AF-S (single-servo) or AF-C (continuous-servo).


The corresponding dial on the right side of the viewfinder is no longer used to control AF point selection, however. Instead, you now use the AF area button on the top deck, located where the SD2 button used to be. And as in the K-3, you have quite a few more choices. As well as the default 27-point auto selection, you can opt for Spot, Select, Expanded Area (Small, Medium, or Large), and Zone Select modes.


One further control is also new, located just below and to the left of the four-way controller on the rear panel. The Change AF Point button selects whether the Four-way Controller should be used to adjust the AF point location, or should abide by the markings on its buttons.


Why all the extra points? You might wonder why, exactly, do you need all these new autofocus points? If you're not shooting on a tripod, you can just reframe and focus with one of the existing points, after all. Not so fast, though... If focus is critical, that technique could subtly shift it -- and with the possibility of more abbreviated depth of field that medium-format allows coupled with the high resolution of the 645Z, it's more likely to be an issue with this camera than most. For that reason, you'll do better to use a focus point as near to your subject as possible, minimizing any shift.

And with AF tracking, the extra points can also pay dividends, albeit perhaps not quite as often as in a more sports-oriented camera. Still, the more points you have, the easier it is for the camera to accurately track distance as your subject moves across the image frame. And that's where the tie-in with the RGB metering sensor comes in, as well. Since it can now provide color information -- and a whole lot finer detail -- to the camera, it can be used to help track the subject's location, and determine whether or not a given autofocus point is over the subject. In other words, we can expect quite a step forwards in tracking autofocus performance.


Of course, you can focus manually as well. And here, too, there's a decided improvement. You can now shoot in live view mode, and as in the K-3, there's a focus peaking display -- so if you find fine manual focus adjustment tricky, you're more likely to get focus right where you want it. (With that said, the 645D's viewfinder was already an uncommon joy for manual focus, and given it retains the same viewfinder, that will be true of the Pentax 645Z as well.)


White balance. There's one other piece of the Pentax 645Z's exposure setup that's seen some improvement: There's now a Multi Auto white balance mode, as seen previously in the K-3. This aims to neutralize color casts from multiple different light sources in the same scene, and again works in concert with information from that 86,000-pixel metering sensor. It's an adoption from Pentax's new parent, Ricoh, whose cameras have had the feature for a while now under another name: Multi-P Auto.


As well as Automatic and Manual modes, the Pentax 645Z provides ten white balance presets (Daylight, Shade, Cloudy, Daylight Color Fluorescent, Daylight White Fluorescent, Cool White Fluorescent, Warm White Fluorescent, Tungsten, Flash, and Color Temperature Enhancement). This last option is used to retain and enhance the lighting tone - for example, to enhance a sunset.


Also worth note is that, as with its predecessor, the Pentax 645Z doesn't just rely on its CMOS imager sensor and clever algorithms to determine color temperature. There's a dedicated light source detection sensor whose information is also taken into account.


Flash. As you'd expect from a camera aimed at pros and deep-pocketed enthusiasts, there's no built-in flash strobe in the 645Z. Instead, medium-format strobists will be relying on external strobes and studio lighting when ambient light doesn't suffice. (But thanks to the high-sensitivity sensor, that should be the case a lot less often than before.)

The Pentax 645Z has an x-sync speed of 1/125 second, and strobes with high-speed sync will function at reduced power to 1/4,000 second. includes both a P-TTL-compatible hot shoe and an X-sync socket. A dedicated X-sync position is included on the Mode dial, as well. Wireless flash is possible via an external strobe mounted on the hot shoe.


Longer-life shutter. Before we move on from the exposure system, this is probably as good a place as any to note an improvement that could see your investment in the 645Z -- a professional camera which commands a professional pricetag -- spread out over a significantly longer period. Where the original 645D had a manufacturer-rated shutter life of some 50,000 frames, the Pentax 645Z's shutter mechanism is rated as capable of attaining around 100,000 frames in its lifetime. (And Ricoh notes that this figure has been attained with the shutter being tested in the camera body, not on a workbench.) With twice as many shots available from the shutter, you should hopefully be able to get twice as many images out of your 645Z -- and therefore pay about half as much per image over the life of the camera.


Viewfinder. On a surprisingly short list of features held over from the original Pentax 645D, you'll find the 645Z's through-the-lens optical viewfinder. If you're a fan of optical viewfinders, you'll feel right at home here: It's big, it's bright, and it's a joy to focus through. It also has a fairly generous 21mm eye relief from the view window, or 24.1mm from the center of the lens.


For the optics geeks amongst us, it's a Keplerian telescopic trapezoid prism finder, a design that allows Pentax to keep size to a minimum. It has 98% coverage, so isn't quite as accurate as the finder in Pentax's APS-C cameras, but by medium-format standards it's pretty good. Magnification is 0.62x with a 55mm f/2.8 lens at infinity; note that you can't directly compare this figure against a full-frame or crop-sensor camera, however.


Like its predecessor, the Pentax 645Z offers a dioptric adjustment range of -3.5 to +2.0 m-1, so eyeglass wearers with eyesight within that range are well catered for. If you need a little help, a magnifier eyepiece is optionally available, and you can also switch the bundled Natural-Bright-Matte focusing screen for a AF Framed Matte, Golden Section Matte or Cross-Lined Matte screen should you desire.


Also, if you want to preview depth of field, you can do so either through the viewfinder or by letting the camera capture and display a preview image using Pentax's intuitive Aperture position on the Power dial, just as in the company's crop-sensor SLRs.


Larger, better LCD. The most obvious physical change on the Pentax 645Z, as compared to its predecessor, is its new rear-panel LCD monitor. This, too, is inherited from the Pentax K-3. It has a slightly greater 3.2-inch diagonal, and a 3:2 aspect ratio. Together, those changes translate to around a 9% increase in surface area, and resolution has simultaneously been increased by around 13%. The total dot count is now around 1037k, up from 921k in the earlier flagships. The increase in resolution more than offsets the larger surface area, so perceived resolution is much the same as it was.

The 645Z's LCD monitor has a gapless design, as introduced on the K-5 II and IIs, and retains the anti-reflective coating of earlier models. Compared to the air-gapped design used in the 645D, it has lower glare and better contrast. The brightness and color adjustments of that camera have also been supplemented with a new saturation adjustment, letting you tweak yet another variable to your own tastes.


Articulated LCD. As you've doubtless noticed, a lot of the changes in the Pentax 645Z are inherited from the K-3. This one, though, is unique in Pentax's lineup -- an articulated LCD monitor. It's a tilting screen, rather than our beloved, side-mounted tilt / swivel design, but it's still a lot more versatile than a fixed-position screen. And frankly, it's pretty impressive that Ricoh has been able to add articulation in a camera that's weatherproof, dustproof and freezeproof. We don't currently have any figures for tilt range, but do know that the screen allows for framing low to the ground, waist-level shooting, or shooting over a crowd.


Live View. Of course, an articulated LCD wouldn't be terribly useful without live view capability. For those of you who're skimming for key features, though, we'll call attention to this again. It's a big change from the viewfinder-only framing of the 645D, and one that's only possible because of the 645Z's new CMOS image sensor.


Info LCD. The huge monochrome info display on the top deck is similar to that of the earlier camera, but has been rearranged a little to reflect changes on the camera body, and to better show information about the dual flash card slots and the file types used for each. It still has a green backlight, which can be illuminated with a dedicated button at its rear right corner.


We're still putting the finishing touches on our Technical Info section. Watch for more details on the camera's features -- and especially its brand-new movie capabilities, storage options, and connectivity features -- shortly.


Πηγή: http://www.imaging-resource.com/PRODS/pentax-645z/pentax-645zA.HTM


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η καλυτερη φωτογραφικη μηχανη ειναι ενα iphone σε καθε του νεα εκδοση !!!!!!!!! χωραει παντου


μετα φυσικα οποιοδηποτε νεο μας ερχεται απο την canon

Edited by gatz

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η καλυτερη φωτογραφικη μηχανη ειναι ενα iphone σε καθε του νεα εκδοση !!!!!!!!! χωραει παντου μετα φυσικα οποιοδηποτε νεο μας ερχεται απο την canon

Εντάξει. Και το κορυφαίο αυτοκίνητο στον κόσμο είναι ένα αυτόματο diesel Smart. :)


τιμή 7999,- € !!!


χρειάζεσαι μεγάλο κουμπαρα αδερφέ !




Για αυτό και ο τίτλος του νήματος. Για μεσαίο φορμά πάντως αυτό το ποσό θεωρείται πάρα πολύ χαμηλό. Οι 80άρες πλάτες της Phase One, ή της Hasselblad συνήθως είναι γύρω στις €25.000. Χωρίς σώματα και φακούς που στοιχίζουν αρκετά επιπλέον χιλιάρικα.


Η ποιότητα εικόνας βέβαια είναι απλά συγκλονιστική και καμία μηχανή μικρότερου φορμά (ακόμα και αυτές που δίνουν τεράστιες αναλύσεις, όπως η Nikon D800E με τα 38Mp) δεν μπορεί να πλησιάσει την ικανότητα ενός πολύ μεγαλύτερου αισθητήρα να αποτυπώνει λεπτομέρεια.


Ενδεικτικά, ένας φάκελος από την μεγαλύτερης ανάλυσης κάμερα "35mm" σήμερα: JPEG


Και ο ίδιος από την Phase One IQ180: JPEG (αν καταφέρει να τον ανοίξει ο υπολογιστής σας).

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By Michael Reichmann
and Nick Devlin (@onelittlecamera)


It was 2005 when Pentax first announced that they would be building a medium format digital camera.


Unless your memory stretches back to pre-digital days you may not know that Pentax was one of the major medium format camera makers, with several very popular 645 and 67 format camera over several decades. But unlike many camera makers who were sideswiped by the digital bus, Pentax hung in and in 2007 delivered the Pentax 645D. Nick had some initial comments and an interview with Bill Gouge of Pentax Canada in September 2007, and a more comprehensive review of the camera in November of that year.

Now it's mid-year in 2014, almost seven years on, and Pentax has just started to ship their next-generationPentax 645Z. Though the "Z" looks a lot like the "D" a great deal has changed. Here then, for those who have not already memorized the product brochure, are the more salient points...

– 51.4 million pixels, 43.8 x 32.8mm large CMOS image sensor. This is the same Sony fabricated sensor as found in the Hasselblad H5D-50c and Phase One IQ250.

– 3.2" articulated 1.3M dot LCD with Live View and a large prism 98% coverage optical viewfinder system.

– ISO range from 100 – 204,800

– 3 fps continuous shooting

– 27 autofocus points including 25 cross-type sensors

– 1920X1080 HD video 60i/30p/24p

– video capability

Even a cursory look at the major specs shows that the most significant new feature is the use of Sony's new CMOS 43.8 x 32.8mm sensor, now also used by Phase One and Hasselblad. This is the first medium format CMOS sensor and consequently brings heretofore unavailable features in MF, such as higher frame rates and high ISO, as well as proper Live View and video capability.

Of course just because cameras use the same sensor doesn't mean that they are the same when it comes to image quality. The entire imaging pipeline from the sensor onwards is proprietary to each maker and therefore small to moderate difference (maybe even major ones) are to be expected.

Before going further, let's just clarify that strictly speaking 43.8 x 32.8mm is not what was called medium format in the film days. It is some 63% smaller than 645 film, though it is 1.7X larger than full frame 135mm format.

Got it? Does this really matter? It is what it is, and comparisons to film formats aren't really relevant. Just keep in mind though that this format has a .8X factor when it comes to calculating lens coverage. That's about the only thing that should be noted. Keep in mind as well that this is the same size as the sensor in the Leica S, and we don't hear too many people complaining about that.

User Interface

Next, let's consider the user interface and user experience of working with the 645Z.


The chart above is there not to strain your eyesight, but rather to give you an impression of the strongest first impression that the 645Z gives – that is of their being a single dedicated external control for virtually every major and most minor functions. Whereas the smaller a camera gets the more controls have to be placed onto menus and custom functions, with a large camera such as the 645Z there is physical space to be allocated so that direct control is available.

Depending on your age and experience in photography this may be seen as either a good thing, or a bad thing. Lovers of simplicity (the Leica S approach) will likely find the 645Z to be confusing and even intimidating. On the other hand, a photographer who wants to have every control at his or her fingertips, will consider the new Pentax to be just the ticket.

That said, we found a hard-to-quantify but nonetheless palpable 'thickening' of the control interface from the previous 645D. While there are only a couple more buttons, a number of the core controls lacked the transparency and fluidity of the original camera. It may be that over a period of time this will disappear for experienced users, but Pentax did over do it a bit here. The 'Green' button on the back is a prime example. It is a shamelessly modal control, and badly out of place on a camera where virtually every control is first-order obvious. The presence of JPEG WB controls on the four-way controller is another fail and a hold-over from the company's consumer APS-C cameras (Pentax is not alone in including ridiculous controls like this on the ubiquitous four-way). Auto ISO is a particularly badly implemented control, and we mention that below.

But we have to put these relatively minor critiques in context: the 645Z is light-years ahead of any other MF-class camera, and frankly better than just about all of the FF 35mm machines in user interface. Using a Phase or Hassy body is pure agony after handling a "Z". Many of the controls are blessedly well done, such as the pop-up menu that appears when one hits "INFO" during image review, which displays thumbnails of the four review options (eg: with or with histo, 3-colour histo, etc), between which one can quickly scroll.

The "Z" is still a great user's camera.

One simple example: I (Nick) still can't get the H4D I use to marry mirror-lockup to self-timer. And I have to reset all of this everytime I power-up. By contrast on the "Z", two touches on the controls puts you in 2-second self-timer to which mirror-lockup is automatically linked! It's almost like an actual photographer was involved in the design. Revolutionary.

White house on the Hill, Clearview, Ontario, July 2014
Pentax 645z, 120mm, 1/500th @ f8, ISO100


One of the reasons Nick sold his 645D was that it had trouble focusing accurately at middle distances – a plague of MF cameras. In our brief testing the "Z" performed far better in this regard, not only as predicted in Liveview, but using the camera's phase-detect TTL AF system as well. Objects in the sub-infinity range – typical of landscape foregrounds – were tack sharp most of the time. Liveview contrast detection AF also worked well, as expected.

Focusing speed is fine. Not great, but fine. The newer lenses are predictably much faster and more positive than the older film-era screw-drives lenses, which had a distinct tendency to hunt. The worst offender was the 120mm macro, which may be because of its enhanced range and precision of focus. While it displayed a lot of 'jiggy" AF behaviour, the results were ultimately excellent. No one will be using these cameras for high-speed AF applications, so I just don't think this really matters.

In short, focus is not an issue. The only anomaly we did see was with the new 25mm lens, which produced some inexplicably mushy shots on a couple of occasions. We didn't have the camera long enough to drill-down on this, so I will make no more comment than to say this particular lens probably requires more serious attention when focusing on distant objects which have little texture on such a wide lens.

Affordable Starter Home, Clearview, Ontario, July 2014
Pentax 645z, 25mm, 1/125th @f8, ISO 100

Live View

Live view with an articulated screen is a real pleasure with MF. The screen is better than either of its competitors simply because it can be brought to an appropriate angle no matter the position of the camera. Live View works. We are all used to it now, so there's not much more to say. Landscape photographers will enjoy this development a lot.

WIFI operation

We should mention the camera's WIFI capability here as a subset of Live View. Although WIFI is not built in, one can add it for a few dollars by purchasing the oddly named "FLU" SD card. One can then establish a browser-based link to the camera. As with the other Pentax SLRs, this gives full camera control from the linked device, including touch-focusable Live View control. Working off an iPad, this functionality operated well. I could see composing and focusing on an iPad, almost like a hand-held ground glass. How much better and/or more usable this is than the other ways of seeing with the camera would depend on the user and take some time to know, but it's nice to see this functionality on the "Z".


The "Z" sports a USB3 plug. Cabled tethering is coming in the fall, we are told. This is a must-have for commercial pros, and I really, really hope Pentax gets it right. The announcement of true tethering is kind of a big deal, as Pentax made no effort to achieve this on the 645D, and thus cut-out a vast segment from its pool of potential customers. Its inclusion on this camera shows a real commitment to making a competitive system.

Image Quality

So this is the real money-question: is the IQ up to snuff and worth the money? The short answer is yes. The files off the "Z" are superb. Nick attempted some apples-to-oranges comparisons with the H4D-60, which were limited by the different ISOs, sensor sizes and focal lengths available to us. However, when matched like-for-like as closely as possible, the "Z" produced files which closely rivalled the larger 60MP CCD chip. That said, Nick could see what felt like a greater subtly of micro-contrast and colour subtlety on the Hassy files, which were challenging to reproduce on the "Z". With a lot of playing in post, however, the difference in files came down to a matter of taste, and a small one at that. If pushed, Nick would say that the Hassy file, at base ISO 50, was a bit more robust. Simply put, nothing can (yet) beat a big CCD at optimal operating conditions.

An attempt at a studio portrait yielded a further interesting, in unintended, result. The files from the Hassy produced unmatched skin tone. No real surprise there. But the "Z" wasn't that far off. In particular, the level of detail on both, and the smoothness of skin tonality, was mutually impressive. Then the kicker....in trying to use to FLU card to send jpeg previews to an iPad as an experiment, we had accidentally set the camera to only shoot small, lowest quality jpegs. Oops.

Thinking Deep Thoughts
Pentax 645Z, 55mm, f8, ISO100

Here's the kicker......the 21MP, 'lowest' quality jpegs were, on-screen, just amazing. Converted to B&W, and tweaked quite a bit in LR, they are gorgeous. This is not surprising, really, since a 20MP MF back was the state-of-the-art not that long ago. And guess what – a file of this size is still pretty darn excellent, and fully up-to-par for almost any professional application. (Of course, this fact has a lot of implications, which we address further down.)

The quality of the JPG produced in-camera is significant. We had no time to test this, but the "Z" clearly produces a terrific file through its on-board processing. I have no idea how the camera down-samples to 21 from 50MPs, but it's doing something right. Pros in a lot of the "Z"'s target markets (we're looking at you, wedding folk) might find this a tremendously useful capability, shooting RAWs on one card and jpegs on the other. Potent.

Really knowing how good the 50MP CMOS sensor is, compared to its larger CCD brethren, would require a lot of lengthy, detailed work. Our basic impression, however, is that the "Z" produces beautiful results that no one will be disappointed by. How 'robust' the files are in aggressive post-processing is a question we would like more time to answer, but any differences vis-a-vis the rest of the field will not be that large.

All of this comes in the context of a camera with amazing high ISO capabilities. CCDs simply cannot compete on that front at all. Bottom line is superb IQ.


One of the other factors that led Nick to sell the 645D was a nagging sense that first-curtain shutter vibrations were degrading shots taken even on the heaviest tripod. Pentax seems to have done something about this. The shutter no longer produces the guillotine-like impact on opening that marred its predecessor. We also saw no evidence of degraded IQ at the 'high-risk' shutter speeds. In fact, the barn at sunset shot (below) was taken with the camera braced on a fence-post. If the shutter were still a problem, this shot should have shown it.

Kudos to Pentax for having fixed this problem.

Sunset Moonrise - Clearview, Ontario, July, 2014
Pentax 645Z, 55mm, 0.3s @f8, ISO 100

Other Use Issues

The "Z" has 35mm SLR genes, and it shows, in a good way. The battery is a bog-standard 18.4€ model. In addition to being cheap and plentiful, it runs forever, compared to its 183.99€ brethren on the competitor's MF cameras. Nice. One can also buy a Pentax IR remote for next to nothing, along with an economical GPS module. Nice.

More importantly, perhaps, the camera feels good in the hand. It's big, but it fits. And it's weather sealed. Bit of sand? Just hose it off. While we think it's foolish, people have done this and posted videos on the web. Only the new lenses are weather-sealed, but this kind of protection on a field camera of this value is wonderful. I would never hesitate to take this camera out, anywhere, whereas I worry every time the Hassy leaves the bag.

The "Z" is a real working pro's field camera in every sense. It's a camera that's almost never annoying to use, and will no doubt be a trusty companion for years of use. I suspect the people who buy them will grow to love them.

The Use-Proposition

So here's the rub. Five years ago, the "Z" would have been a photographer's wildest fantasy. An MF camera with world-leading high ISO, and live view, all under 7.36€K. Why then did it induce a bit of a shrug in both of us? The answer has a couple of facets. First, the camera is big. Coupled with a brace of lenses, this system is a serious commitment to carry around. In photography, mass=hassle. There is simply a high physical price to pay to use this kind of gear.

Second, the field has filled-in from below in stunning fashion. Not long ago, nothing could rival MF backs, notwithstanding their usability deficits. That's all changed. The Nikon D800e/810 produces very similar results at a third the price, with a much broader range of high-quality lenses available, also at a lower price. More recently, the Sony A7r puts similar IQ into a camera the size of a cigarette pack. And for the traveller-type, the Fuji X and Olympus Micro 4/3rds systems offer terrific IQ in pint-sized packages.

Remember the accidental 21MP jpeg? An Oly OM-D-E-1M-D-M-E-whatever produces a gorgeous 16MP file. Not all that much of a difference in the vast majority of applications.

Put simply, who really needs a run-'n-gun MF camera? The high ISO is amazing, yes. The file is huge, yes. The usability is on par with 35mm FF, yes. But it costs a lot and is big and heavy. So why? Moreover, any erosion in the discipline required for maximum IQ (tripod, stopped down, etc) will have some impact on the quality derived from the machine. With the quality of the vastly cheaper next-step-down nipping at MF's heals, it's not clear who will find it worthwhile.

The real problem with this camera, ironically, is that it is so usable that it invites the sort of run-'n-gun work that will inevitably degrade IQ, despite its enjoyability and convenience. So you can very quickly find yourself with a file that has little advantage over one from an A7r....

For the past few months, Nick has had the use of a top-end Hassy camera. It's like using a 486 computer, has no weather sealing, is an anvil to carry, and there's no point moving it off ISO 50. But when all the rigour and discipline needed to max-out IQ is applied, the results are awesome. BUT! The Hassy is unusable unlessused slowly, and properly, in the right conditions. I get no crappy images from it, because under sub-optimal circumstances, I wouldn't bother using it. Ironic, no? The fact it's hard to use makes me a better user. And I'm actually not sure I want to move away from that paradigm. I'd prefer the 645z's usability and durability for sure. But in work-style, I like what the Hassy makes me do. If I need or want speed and convenience, I use a smaller system.

Michael, on the other hand, has been working with the 36MP Sony A7r of the past 6 months plus, and is more than happy with its image quality, especially when using a few of the Sony/Zeiss FE lenses. If medium format shooting technique is used...large, heavy tripod and precision head, careful focusing, etc, the files produced by the Sony leave little to be desired, even on exhibition quality 22X30" prints. DxO's ranking puts the A7r almost at the top of all current cameras, and with good reason. We don't know how the 645Z will rank yet, likely quite high, but then there's the issue of price.


The Pentax 645Z sells in the U.S. for 6,255.52€ The Leica S is 16,153.96€ though it's a fair bet that this camera's sensor will be upgraded around the time of Photokina. (Do not expect it to use the same Sony sensor). The Hasselblad H5D-50c retails for 20,238.45€ while the Phase One IQ250 back with a 645DF body will set you back about 29,437.74€ Lenses are, of course, additional, and most medium format lenses, other than used, are quite expensive in their own right.

The question that one might well ask is; how can there be such a price spread between cameras that are using the same sensor. Good one. And one that that I won't even attempt to answer.

Nick Devlin & Pentax 645Z. Outstanding in His Field – AKA, a Corny Shot

But while the 645Z wins the price war handily at the high end, its erstwhile competitors from below really put the pressure on. The Nikon D800e/810 and Sony A7/r offer exceptional image quality in the 2,428.61€ and1,692.67€ range. Want a large heavy DSLR, Nikon's got it. Want a small light mirrorless system camera, Sony's got it.

Michael's side-by-side comparisons with between the 645Z and the A7r show the Pentax to have about one school grade advantage over the Sony, but then only on-screen at 100% or in large exhibition sized prints. The difference is there, but so is the price differential at over 3,679.72€ and the weight and bulk differential are certainly not inconsiderable either.

Michael's take is that just a couple of years ago the 645Z would have generated want bumps, but now, hardly at all.

Clickety Clack and Wow

Nick and Michael sit on opposite sides of the fence when it comes EVFs. Michael has been shooting with mirrorless cameras for about two years now, and has lost interest in bulky DSLRs. Nick has never seen an EVF he's ever liked. One thing is clear. The 645Z has a very nice, bright and large optical viewfinder, though the Hassy still has an edge in this regard. It also has a large articulated LCD for Live View, with all the necessary accoutrement's, like focus peaking, highlight warning, level indicator and so sorth. In other words a totally modern design with a foot in both the old world and the new.

One thing that the 645Z shares with DSLRS is the clickety clack of the shutter, closing, opening, closing and opening again when in Live View. Oh yes, and the shutter similarly. Clickety clack.

Same Random Notes

Let's start with some praise. Pentax has its own proprietary raw format, but also allows the user to record raw in DNG format. Bravo Pentax. If only other manufacturers had the smarts and the balls to recognize that propriatry raw formats are not in their customers best interest. In fact, they are an insult.

The lens situation needs to be discussed. The Pentax 645 mount has been around for decades, and Pentax 67 lens, also decades old, can also be fitted via an adaptor. Because these lenses have been popular and available widely there are many on the used market, sometimes at very attractive prices.

But, even when in excellent condition many of these lenses are from another era (remember film?), and the demands that were made on them are simply not the same as from a state-of-the-art sensor such as the Sony unit fitted in the 645Z.

There are three new lenses, which are weather sealed, and which appear to be of excellent quality. But, they are also expensive, up there with lenses from other medium format makers. Pentax is rereleasing their older lenses at more reasonable prices, but we suggest that you check around to find out which ones might be up to a world-class sensor's demands. In our brief testing, the 120 macro clearly was, but the 33-55mm lost a touch of quality in the corners. And with MF, loosing a touch of quality means you might as well have used 35mm.

Finally, there are no leaf shutter lenses. This may be an issue for those working with flash in brightly lit settings, where the inability to sync at high speeds might be an impediment.

Michael noted a few other small niggles. Pentax, along with some other makers hides the Format command in the menus. Why. This is a frequently used control. Don't put it as the third item down on Tool Menu #4. Don't worry Pentax. We're all grown-ups here. We won't abuse it if you put it front and center.

From a functional perspective, as Nick has pointed out, there is little to criticise once one becomes familiar with the bevy of controls and menu selections. But, the image preview takes about 3 seconds till it appears. Yes, we know it's a big file, but 3 seconds? Seems like an eternity sometimes.

Oh yes, the camera has video, and it has built-in mics, and an external mic input, but no headphone jack? What's with that?

Farmville, Clearview, Ontario, July 2014
Pentax 645Z, 120mm, 1/400, f16, ISO200

Auto ISO Foibles

We are not enamoured of the way Pentax has implemented Auto ISO selection. Whereas most manufacturers place Auto ISO at the top of the ISO selection scale, and then have a menu choice where one can set the Auto ISO range, Pentax has made it a separate setting from the regular ISO selection process.

To engage Auto ISO one must press the top panel ISO button, while simultaneously press the mysterious rear panel green. To disengage Auto ISO one holds the ISO button down while turning the rear control dial to the left. While one learned, this isn't that difficult, on the other hand it is a somewhat byzantine interface design, and simply illustrates a thickening of the control interface complexity over the more pleasing simo0licity of the previous 645D.

ISO Noise Performance


Full Frame of Crops Below

We'll start this section with with a flat statement – The Pentax 645D may well have the best high ISO performance of any camera to date (including the Sony A7s), and with little doubt has the lowest noise high ISO performance of any medium format camera, including as best we can tell that of the Phase One and Hasselblads that use the same sensor.

The 100% screen grabs below contain the ISO information for each shot.

100.jpg200.jpg400.jpg800.jpg ISO 2001600.jpg3200.jpg6400.jpg12800.jpg25600.jpg51200.jpg102400.jpg204800.jpg

Our observations are as follow...

ISO 100 – Totally clean at 100%

ISO 200 – Totally clean at 100%

ISO 400 – Almost totally clean at 100%

ISO 800 – Almost totally clean at 100%

ISO 1600 – Very clean

ISO 3200 – Very clean

ISO 6400 – Slight luminance texture. Only slight NR needed

ISO 12800 – Visible noise, but no NR needed for printing

ISO 25600 – Noise visible, but cleans uop nicely

ISO 51200 – Noisy. Usable with some NR

ISO 102400 – Very noisy. Loss of black density. Usable in an emergency

ISO 204800 – Very noise. Not really of use practical use.

Video – Fail Big Time

The Pentax 645Z is the first medium format camera to offer video capability. This is due to the use of the new Sony CMOS sensor, though it's interesting that neither Hasselblad not Phase One choice to implement video capability in the cameras that they released.

We did not have enough time to do any serious video testing, but Michael was keen to see how it performed. Due to its high resolution sensor the camera would obviously have to use binning, line skipping or some other compression to reduce its huge image down to HD. But the very first test done was a simple pan upward to show a slowly rotating ceiling fan, so see how rolling shutter would be handled.

The short clip above tells the tale. The image completely breaks apart as soon as the fan starts to fill the frame. This apparently was caused by the camera's video stabilization being confused by the rapid motion.

One theory, after the fact, is that this would not have happened if the camera had been hand held, or the SR mode has been turned off. But, with our limited time at this point we decided not to test the 645Z's video any further. We will keep in touch with Pentax about this and report if and when we see how this issue unfolds.




If you have the money, or the lenses, or simply a love for larger-format cameras, the 645z will not disappoint you. It's a world-class image-maker in every regard, and the fullest realization of the dream of a 35mm quality MF camera. The handling and high ISO make it unique. The performance issue of the 645D have largely been ameliorated. What remains is the question of whether the price in mass and money is worth it. That one can only answer for oneself.

Πηγή: http://www.luminous-landscape.com/reviews/cameras/pentax_645z_first_impressions_review.shtml


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Hasselblad launches 50MP CFV-50c back for legacy V system


Published Jul 25, 2014 | Damien Demolder



Swedish medium format manufacturer Hasselblad has launched a new digital back for its V System camera bodies that is claimed to bring image quality for vintage camera users in line with that experienced by those using the modern H5D-50c body. Significantly, the Hasselblad CFV-50c uses a CMOS sensor and gives users access to high ISO settings for the first time.


The new back features a 43.8 x 32.9mm CMOS sensor that outputs images of up to 8272 x 6200 pixels, and which operates within an improved ISO range of 100-6400. Previous backs from the company have used CCD sensors and have been restricted to a maximum ISO sensitivity of 800. The use of a CMOS sensor will also allow ‘noise-free’ long exposures, according to Hasselblad, with the back capable of shutter speeds of up to 12 minutes. A new 3in LCD screen has ‘higher resolution’ although a precise pixel-count has not yet been disclosed.



CFV-50c_2_copy.jpeg CFV-50c_3_copy.jpeg

The back is compatible with all V System cameras manufactured since 1957, and is the first to allow cable-free connectivity with V bodies.


Priced at $15,000 / €11,000 the Hasselblad CFV-50c is available now. For full specifications, you can download Hasselblad's data sheet.




Press release:

Hasselblad is set to launch a new ‘back to the future’ CMOS sensor-based digital back, targeting its legions of dedicated V System photographers worldwide.


The new CFV-50c, which will have an €11,000 price tag, is engineered to work on almost every V camera made by the company since 1957.


The state-of-the-art back boasts the same feature-rich functionality and performance level as the acclaimed H5D-50c camera, providing V System users with a unique opportunity to benefit from latest digital capture technology, including outstanding ISO capability.


The announcement comes as Hasselblad underpins its sharp focus on core customers in the medium format sector.


Ian Rawcliffe, Hasselblad CEO said: “We have experienced a substantial resurgence of interest in our iconic V cameras – users love the traditional ergonomics and the unique appearance.


Our research has shown that although we no longer manufacture V models, there is a big demand from our dedicated V System users who want to be able to continue to use their classic

cameras but also desire access to our latest technology. The new CFV-50c, with its supreme image quality, is our response to that demand. Photographers using V System vintage cameras

can now realise the true potential for these definitive capture devices.”


He added: “This new unit is just part of our ongoing product development strategy. We have produced V Systems for over fifty years and now customers can really benefit from Hasselblad advanced digital engineering know-how with the CFV-50c.”


Leading German portrait photographer Arne Weychardt is one of the first to test the new digital back.


He said: “CFV-50c gives me superb fusion of old with new; the traditional and classic look and feel of the V System body linked to Hasselblad’s advanced image capture technology. It’s

just a perfect mix.”

Key features of the new CFV-50c:

  • CMOS sensor with ISO values up to 6400 provides lower noise levels, guaranteeing crisp clean images and picture-perfect colours.
  • Long exposures with clean, noise-free images.
  • Simple operation: no external cables required. (The CFV is the only digital back to offer this for V cameras)
  • Live Video in Phocus in colour: Plus much higher frame rate than earlier CCD-based CFV backs.
  • Larger LCD screen with higher resolution.
  • New menu system and button layout.
  • Ninety degree viewfinders. Now photographers can use the PM90 and PME90 viewfinders. (Easier portrait or vertical shooting)
  • 12.5 MPixel JPEG option (in addition to the RAW file).
  • New programmable button – a shortcut to a photographer’s most frequently used function.
  • Classic Hasselblad square crop option.
  • Remote control option from Phocus using a 500EL-type or 503CW with winder.

More information and data sheets at www.hasselblad.com


Πηγή: http://www.dpreview.com/articles/4662324337/hasselblad-launches-50mp-cfv-50c-back-for-legacy-v-system?utm_campaign=internal-link&utm_source=related-news&utm_medium=text&ref=related-news


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Leica S (type 007)




Φαίνεται ότι σιγά σιγά το CCD στο μεσαίο φορμά παραδίδει την θέση του στο CMOS. Πλέον τα υψηλά ISO δεν είναι προνόμιο μόνο των μικρών αισθητήρων


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Έφτασε η πρώτη Mirrorless μεσαίου φορμά...

Hasselblad's X1D is a photography nerd's dream camera

Διαβάστε επίσης σχετικά άρθρα εδώ, εδώ κι εδώ




αν πραγματικά ενδιαφέρεστε ΚΑΙ μπορείτε να την αποκτήσετε, η τιμή δεν σας νοιάζει.

αν πάλι δεν μπορείτε να διαθέσετε τα λεφτά που πάντοτε κόστιζε μια Hasselblad, πάλι δεν σας νοιάζει.

  • Like 2


"Ω ξειν', αγγέλειν ότι τήδε κείμεθα της χιονοδρομίας πειθόμενοι"


Austrian Level 2 Ski Instructor

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Hasselblad Announces Groundbreaking X1D
June 22, 2016 by Kevin Raber


World’s First Mirrorless Digital Medium Format Camera


This has been a wild year with product announcements from just about every camera maker. It’s a Photokina year and one has to wonder if there will be anything left to announce at Photokina. My sources tell me not too worry. Times are about to change again in the medium format marketplace. I received a call from Perry Oosting CEO of Hasselblad recently and he had some new and exciting information to share with me and Luminous-Landscape readers.

There were plenty of rumors and speculation on the Luminous-Landscape forum and Perry and I were discussing some of the wild ideas being presented. Some provided a bit of humor. Here is what is really coming and it looks to be a really nice camera in a long awaited form factor. Hasselblad has made a true mirrorless camera. This is not some blinged out third-party branded camera. This is a designed and made in Sweden original. Introducing the Hasselblad X1D. It’s the real deal!



Perry Oosting introduces the X1D at a live event in Göteborg, Sweden today


The Scandinavian design becomes quite evident as you look at this camera. It weighs 725g (25.6 oz. or 1.6 pounds). A newly designed easy to use menu system combined with a 50mp CMOS Sensor look to make this an exceptional camera. The camera will be introduced with a 45mm and a 90mm lens at launch with another lens to be announced at Photokina. It will have HD video capability and dual SD Card slots. There will be an adapter available for the wide range of already available H-Lenses.


Let’s cut right to the chase and talk about price. The camera body will be $7,900 EU (around $8955 USD). The 45mm lens will be $1900 EU ( $2154 USD). Other prices will be available at launch. Hasselblad even has a special Bellingham Camera Case for the X1D.


Some quick facts . . .

• Compact, lightweight (725g), highly portable and user-friendly medium format technology

• Large 50MP CMOS medium format sensor delivering up to 14 stops of dynamic range (43.8 x 32.9mm)

• New line of XCD lenses with integral central shutter; 45mm and 90mm available at launch

• Compatible with all 12 lenses and lens accessories from the Hasselblad professional H System (adapter required)

• Multiple image format options

• High quality XGA electronic viewfinder or high resolution rear display with touch functionality

• Wide range of shutter speeds: 60 minutes to 1/2000th sec. with full flash synchronisation throughout the range

• An ISO range from 100 to 25,600

Dual SD card slots, GPS and Wi-Fi

• USB 3.0 Type-C connector, Mini HDMI, Audio In/Out

• Weather and dust sealings

• HD video

• Phocus 3.1 for simple and quick raw image processing. Adobe Photoshop® and Adobe Photoshop Lightroom® compatible.

• Capture rate of 1.7 – 2.3 FPS

• 3 inch 920K rear touch screen with 24 bit color. Live view with high frame rate of 30 FPS

• Dimensions for the camera body 150.4 x 98.1 x 71.4 mm

• Exposure metering Center Weighted and Center Spot

• Auto Focus with contrast detection and instant manual override

• TTL Flash center weighted Nikon comparable hotshoe Adjustments of -3 to +3 EV

• Battery is 7.2 v dc 3200 mAh


When I sat down with Perry several months ago for our first interview I got a number of hints that Hasselblad was working hard on a number of new and exciting products. Looking at Perry’s background one would think that maybe a lot didn’t change at Hasselblad and that perhaps Hasselblad would be producing more blinged out cameras. Well, Perry made it a point to say that wasn’t the case and in just a few short months his team has been able to design and have ready for shipping this new form factor medium format camera.

Delivery of demo units will begin at the end of July and orders will be shipping in August. That’s pretty impressive as Perry had also mentioned Hasselblad wouldn’t announce a product that it was not in a position to ship. When talking to Perry about this camera he was quick to mention that the Hasselblad H6D 100MP camera had exceeded their sales expectations in a big way. Shipment of these cameras was delayed due to the earthquake in Japan that has affected all camera makers but will be resuming again in early June when they expect to catch up with their large list of backorders.


This camera has the potential to open up medium format photography to a new group of photographers. What landscape photographer wouldn’t want to have a compact camera system like this to carry along with a variety of lenses? Street photographers as well as lifestyle photographers will also find great use for this. Portrait and wedding photographers will find a competitive differential with a system like this. I wouldn’t be surprised to see this camera fly off the shelves.

Perry has promised that Luminous-Landscape would have a production system to work with when they become available. I’d love to take it on a trip and give a real hands on review and we may just be able to do that with somethings that we have planned in August.


I wouldn’t fool myself for a minute if I didn’t think that others weren’t working on similar camera systems. Rumors have been rampant from Fuji, Sony and Phase One and I wouldn’t be surprised to see Pentax also jump into the fray. Having had a lot of experience in medium format photography and the market in general I think that last few months should put to rest the phrase of “medium format being dead”. I have been hearing that for 16 plus years and medium format is actually stronger than ever before. Perhaps the crossover points of megapixels and sensor size is blurring but there is no question that medium format lives on stronger than ever.

It will be an interesting few months as we approach Photokina. Nick Devlin and I will be at Photokina reporting for Luminous-Landscape and as usual we will bring you daily reports. I think in the next 10 weeks we will also see more surprise announcements from a number of big players. I have said it before – it’s an exciting time to be a photographer. So many great cameras to choose from all producing superior image quality. One has to ask where we go from here. Good question, as I think back 20 years and would never have thought we would be where are today and I was a progressive thinker.


Thank you Hasselblad for pushing the envelope. I am anxious to get my hands on this camera and run it through its paces.


Πηγή: https://luminous-landscape.com/hasselblad-announces-groundbreaking-x1d/




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The new Hasselblad X1D – Will medium format regain its popularity?


Hasselblad made history thanks to its medium format cameras (12 of their film cameras are still on the surface of the moon) and nowadays the company produces several high-end medium format DSLRs. Today the Swedish company added a new system to its catalogue. Small hint: there’s no mirror!

The new X1D-50c has the best of two worlds: a large sensor housed in a compact and light camera body. The latter is definitely the most pleasant surprise: the weight and dimensions are not that different from an A7r II and even smaller than a Nikon D810. So for medium format, it is quite compact!
If you are interested in all the specs and details about the new camera, I invite you to check our news article on the curation website. Here I will share some personal thoughts about this new system.

Before starting, let’s sum up some facts about medium format if you are not familiar with it.

Medium format includes any format larger than 35mm (36x24mm) and smaller than 4×5 inches (102x127mm, which is considered large format). One of the most popular medium formats is 120 film which is available in different aspect ratios (6×4.5, 6×6, 6×9 etc.).
With digital, there are currently two main medium format sizes on the market used by several brands including Hasselblad, Phase One and Pentax:

  • 53.9×40.4mm (H6D-100c, Phase One XF 100MP and more)
  • 44x33mm (X1D-50c, H6D-50c, Pentax 645z and more)

The former is very close in size to the 6×4.5 format of 120mm film (whose size is precisely 56×41.5mm). The second is smaller and can be considered the APS-H of medium format (the crop factor is approximately 1.25x). There can be tiny variations in size between these two formats: for example there is a 45x30mm sensor used by Leica for its S system.
sensor-formats.jpeg?b3e795Sensor sizes compared

The Hasselblad X1D-50c houses a 50MP CMOS sensor that is 44x33mm in size, which is 1.7 times bigger than the one found in the Sony A7 series. It is a sensor designed by Sony, released in 2014 and used by Pentax, Phase One and Hasselblad on other mirrorless and DSLR medium format cameras. Wait a minute, did you just say “mirrorless”? Yes, because the A-series by Phase One is mirrorless too. The difference however is that the camera is based on the Alpa film system with a digital back. So we can consider the X1D the first 100% modern digital mirrorless system (and “world’s first” always sounds nice in a press release anyway!).

Long story short, the X1D-50c uses a “crop” medium format sensor in comparison to the “full frame” medium format. However when we refer to full frame, we generally mean the 35mm format that, after being the most popular film format, is now also popular for digital photography (the success of the Sony A7 series being the latest proof).

So what do I mean by my title? Well, I’m wondering if one day these medium formats could become as popular as 35mm and APS-C. I think it’s a big challenge but why not daydream for a second?


Let’s go back in time again. Before the rise of 35mm film cameras for both professionals and amateurs, medium format was the most popular film format used in the first half of the XXth century. Then it gradually became the choice of professional photographers and aficionados. Today it still has its niche of users especially within the film community.


The first digital medium format cameras released from 2004 onward by Mamiya and Hasselblad were very expensive. Hasselblad also produced digital backs that could be adapted to its film cameras but they were pricey as well. They are cameras mainly used for high level fashion and landscape work (and also rented when needed for specific assignments when the photographer can’t afford the investment). But as the technology evolved, medium format and the prices started to decrease.


Today, some of these cameras are still very expensive (the Phase One XF 100MP with the 80mm lens costs $49,000) but other popular medium format cameras such as the Pentax 645z cost around $7000 for the body, which is still a lot of money but on the same level as a high-end 35mm DSLR like the Nikon D5.


The new Hasselblad X1D will start at a retail price of $9000 (body only) or $11290 with the 45mm lens. Expensive, yes, but I do wonder if other brands will join the medium format market now that mirrorless technology is in the game. The 50MP sensor designed by Sony is used by three companies already and I wouldn’t be surprised if Fujifilm or Sony join the party in the not-so-distant future. Sony has a valid partnership with Zeiss who has designed many medium format lenses (including the one on the Hasselblad cameras used for the NASA landing on the moon). Fujifilm designed mirrorless film cameras in the past including the re-branded X-Pan by Hasselblad and has lots of knowledge when it comes to optics (they co-develop the HC lenses for the Swedish company). So I definitely think it’s possible that we’ll see the medium format market increase in the years to come. More cameras and more brands mean more competition and usually that triggers a decrease in price and a bigger second-hand market. The mirrorless option is a good incentive and Hasselblad showed today that the reduced size and weight is possible.

Other questions remain: do we really need it and who it is for?


Certainly the costs involved in the design and manufacturing of medium format cameras and lenses is not indifferent. I am sure other brands will carefully consider whether it is worth the effort and the investment. It might take a long time before it takes off in popularity and the only way to reach a larger group of customers is if the price decrease. But if it happens, we might remember this X1D as the first step in that direction.


For now the specs of the X1D are mainly attractive for fashion, landscape and fine art photographers. The investment is considerable but not out of reach for a professional photographer with good experience and a good income that can amortise the cost over time.


Personally, I am curious to try it to expand my medium format knowledge (and have some fun with it, maybe by comparing the camera to the A7r II!). Of course we could also say that right now the mirrorless cameras we have (micro four thirds, Fujifilm and Sony E system) are enough for most situations and needs. But the “wow factor” is always enticing (and let’s not even start with G.A.S.!).


Πηγή: http://www.mirrorlessons.com/2016/06/22/hasselblad-x1d/


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Αξίζει να ξαναδούμε την σύγκριση των αισθητήρων. Σε γενικές γραμμές, μεγαλύτερος αισθητήρας= καλύτερη, έως ΠΟΛΥ καλύτερη ποιότητα εικόνας:


Η καινούργια Hassy έχει τον 44x33. Όταν ακόμα και ο λιλιπούτειος Micro Four Thirds μπορεί να δώσει τέτοιες εικόνες, τι μπορεί να κάνει άραγε η Χ1D;

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Κοιτωντας γυρω απο τα ματια που εγινε η εστιαση (δεξι ματι) κανει το δερμα της κοπελας να φαινεται γριας...

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Γιατί, σε ικανοποιεί η εφαρμογή της mascara?




"Ω ξειν', αγγέλειν ότι τήδε κείμεθα της χιονοδρομίας πειθόμενοι"


Austrian Level 2 Ski Instructor

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Εγώ πάντως το είχα πει!

(ζω για την στιγμή που θα βγει η πρώτη medium format mirrorless...)

Τώρα και σε μαύρο, που μάλλον της πάει καλύτερα:

Hasselblad introduces 75-year special X1D kit in black




Εν τω μεταξύ, εκεί που κάποιοι πρόβλεπαν τον θάνατο του μεσαίου φορμά, (ξανα)μπαίνει στο παιχνίδι ένας από τους πιο σημαντικούς παίχτες, από την εποχή του φιλμ:

Fujfilm announces development of GFX 50S medium-format digital


Ok, η Fuji είχε βγάλει υπέροχα κομμάτια μεσαίου φορμά στο μακρινό παρελθόν, αλλά αυτή η κίνηση πρέπει να ξάφνιασε πολλούς.


Δεν μπορώ πάντως να μην σχολιάσω την σειρά των φακών που ανακοινώθηκαν, που είναι όπως στην εποχή του φιλμ: με δαχτυλίδι για το διάφραγμα και για την εστίαση. Τόσο... σέξι κομμάτια είχα να δω πραγματικά από την εποχή του φιλμ.



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Εντυπωσιακές μηχανές - μετά απο αυτο το thread διαπιστώνω πως το πηγάδι ειναι πολύυυυυ βαθυ!!!



People make life so much worse than it has to be and believe me, it's a nightmare without their help. ~ Boris Yelnikoff

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Κάποτε ήρθα πολύ κοντά στην αγορά μιας Hasselblad 500, αλλά ήταν το πιο φτηνό μοντέλο της εταιρίας στην εποχή του φιλμ και οι τιμές ήταν ακόμα σχετικά γήινες (με φακό έβγαινε γύρω στο 1,5 εκατομμύριο δραχμές). Τελικά προτίμησα την πιο ασφαλή λύση της Leica R6.2 με τον Vario Elmar.


Όταν ξεκίνησαν τα ψηφιακά στο μεσαίο φορμά, οι τιμές ήταν εντελώς εξωφρενικές (αρκετά πάνω από €30.000 για σώμα+φακό+ ψηφιακή πλάτη). Τώρα τελευταία όμως μπαίνουν -ή επανέρχονται- και άλλοι κατασκευαστές στο παιχνίδι, ενώ ακόμα και οι παραδοσιακοί παίκτες αρχίζουν να αγκαλιάζουν νέες τεχνολογίες (π.χ. mirrorless) που καθιστούν τον εξοπλισμό πολύ πιο μικρό και κυρίως, συγκλονιστικά πιο φτηνό.


Ζούμε σε πολύ ενδιαφέρουσες εποχές!


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Fujifilm GFX 50S: on the streets of Tokyo, a shooting experience

Published Mar 9, 2017 | Dan Bracaglia


Edited to taste in Adobe Camera Raw and cropped in slightly | ISO 200 | 1/60 sec | F2.8

Japan has long been at the top of my list of places I would like to journey to. Like my coworker, Carey Rose, I enjoy traveling with a camera as a means to create a visual travel diary or log of my adventures.

This year, I was fortunate enough to cover the CP+ trade show in Yokohama, Japan for DPReview. Of course one does not simply fly all the way to Japan for work and not spend some extra time exploring. And so I delayed my flight back by three days, so that I could have some time to check out Tokyo, a city I've long admired from afar in the pages of street photography books and magazines.

Originally, I was going to bring my Leica M6 + 40mm F2 Rokkor (a camera I too often neglect) to explore the streets of the World's largest city. But when Fujifilm informed us they'd have a sample GFX 50S we could take home from the show, my plans changed.

It was weird, at first, shooting street photography on a medium-format digital camera.
Edited to taste in ACR | ISO 800 | 1/800 sec | F2.8

To be honest I never really considered the prospect of trying to shoot street photography with a digital medium-format camera. In fact, the only digital medium-format camera I've spent any considerable time using is the Pentax 645Z. And while capable in many situations, the 645Z is pretty cumbersome to walk around with, being 630 g/22.3 oz heavier than the Fujifilm.

I already had my heart set on shooting a single focal length in the 40mm Rokkor, so I didn't really mind that the only lens Fujifilm could provide was the 63mm F2.8, which is equivalent to 50mm. I really enjoy limiting my focal length when traveling, it tends to give me more mental clarity into what I'm seeing and forces me to move my feet and change my perspective more.


Edited to taste in ACR | ISO 100 | 1/500 sec | F2.8

In short, I love the ergonomics of this camera. The grip is extremely comfortable, it's well-weighted (at least with the 63mm F2.8 on), and most control points can be accessed using the camera with a single hand.

Stopped for a beer at the Tokyo Skytree, mostly to be a tourist, but also to take this photo of the GFX 50S at 350m above the city.

In fact, I'd go as far to say that in terms of ergonomics and comfort, I'd prefer to spend the day walking around with the GFX 50S over a Nikon D810 or Canon EOS 5D SR (with similar-sized lenses) for a few reasons. For one, all three camera bodies weigh nearly the same: The 5D SR is 845 g (29.8 oz), the D810 is 879 g (31 oz) and the GFX 50S is 919 g (32.5 oz). Moreover, the grip on the Fujifilm is just so much more comfortable, especially when holding the camera for an extended period of time (believe me, I've spent very long days with the both the Canon and Nikon in tow).

Fujifilm colors + a high resolution sensor = Lovely files.
Edited to taste in ACR and cropped in slightly | ISO 100 | 1/400 sec | F6.4

I also love the control layout. The top plate is very similar to that of the gold award-winning Fujifilm XT-2, though the GFX has no dedicated exposure compensation dial. Both the shutter speed and ISO dial can be locked. I mostly used the camera during the day in full manual with my shutter speed held at 1/500 sec to freeze any movement I encountered. When I saw something I wanted to shoot, I simply raised the camera to my eye and adjusted my ISO and aperture accordingly. This quickly became a very effective and natural way to shoot (though I acknowledge I could have kept my ISO closer to base in some of these images. Using Auto ISO also would have helped) .

The GFX 50S gives users two ways to move one's AF area or point: via the joystick or the touchscreen. Fujifilm could have easily skipped the touchscreen in a camera like this, but I'm glad they didn't. While I did not use it much for AF point placement (mostly because the joystick is fabulous), I did enjoy employing the touchscreen while flipping back through images (also pinch to zoom is nice). Oh, and the screen flips out both vertically and horizontally (like on the XT-2), which is very useful. I found myself framing with the LCD probably 25% of the time.

Notes from shooting

When I framed up this image, there was no subject in it. But thanks to the sluggish AF, by the time the shutter fired, boom, I had a subject!
Edited to taste in ACR | ISO 200 | 1/1250 sec | F5.6

For the most part, my experience shooting with the GFX 50S was positive. Maybe it was all the canned coffee I was drinking, or the excitement of exploring somewhere new, but I thoroughly enjoyed myself while shooting with it. That said, I had a few frustrations:

Autofocus, as you might expect from a contrast detect system, is quite sluggish. Not only that, it's also pretty loud. And when fully racking focus from minimum to infinity, the 63mm F2.8's lens barrel extends considerably. The camera is also a tad slow to start up. It's really useful that the on/off switch is located in front of the shutter (like on any Nikon DSLR), but I missed a couple decisive moments due to the combination of sluggish start up and slow autofocus.

That said, while AF is slow, it is both accurate and precise (in good light). This is the positive of a mirrorless camera using a CDAF system.

AF speeds are a bit sluggish which sometimes resulted in me missing decisive moments. Fortunately I had a lot of time to compose this image.
Edited to taste in ACR | ISO 400 | 1/1900 sec | F3.2

I only shot using the GFX 50S in AF-S, using a single point. AF coverage is excellent, extending out nearly to the edge of the frame and, as I mentioned, the joystick is an effective way to painlessly move the AF point. When I first was handed the camera, I switched it into AF-C and instantly started to feel nauseous due to the constant, very slow hunting. I quickly switched it back to AF-S.

Because I mostly shot with the GFX 50S in decent light while in Japan, once I was back in Seattle, I was curious to see how its autofocus would hold up in crummy light. The answer: poorly. Using a dimly-lit bar as my scene (settings around ISO 12800, 1/60 sec at F2.8 ) , the GFX 50S proved largely unable to focus on anything. This is not all that surprising given its contrast-detect AF system. And I still got some shots, I simply switched the camera to manual focus and used focus peaking.

Thank God the GFX 50S is weather-sealed. This was shot moments before it started to downpour and I had no umbrella.
Edited to taste in ACR | ISO 400 | 1/800 sec | F4

Another stumbling point is the EVF experience. Although resolution is pretty high (3.7 million dots) the viewfinder image gets noticeably 'crunchy' when focus is initiated, and moiré and 'shimmering' can be very distracting in some scenes, especially cityscapes.

This didn't bother me quite as much as it bothered my colleague, Barney. But as soon as he pointed it out to me, I couldn't unsee it.

That's pretty much it for things I did not like, back to things I did: the camera is weather-sealed, and not just a little weather-sealed, but very weather-sealed. One day, while out exploring part of the Asakusa district in Northeast Tokyo, I got caught in a heavy rain storm. Now, contrary to popular belief, we don't get heavy rain in Seattle, just drizzles, mists and spits. This is to say, I was not prepared for the rain that would fall. Fortunately, the GFX 50S was.

I was also really quite pleased with the camera's battery life. Fujifilm introduced the new NP-T125 battery, and it's enormous, which is awesome. I shot constantly for two and a half days without needing to charge it up once.

The images

I was able to crop this file in nearly 50% and still have a nice image thanks to the camera's high pixel count.
Edited to taste in ACR and cropped in considerably | ISO 12,800 | 1/90 sec | F2.8

So I obviously enjoyed using the camera but what about the files? Well, you be the the judge. Adobe just updated Raw support for the camera earlier this week and boy did I have a fun time playing with these files. The above, for instance, is cropped in nearly 2x.

Raw files also seem to have excellent dynamic range. I was able to pull exposures quite far. I was also able to recover a ton of blown highlights from the Sensō-ji Temple photo at the bottom of this article (first image in the gallery). This is due to a behavior we found regarding high ISO files having extra data in the highlights. But we'll go more in depth on that in the review. To be honest, as a former X100-series owner, using this camera reminded me just how much I love Fujifilm colors and skintones. And processing Raw files allowed me to go back and apply any one of the lovely Film Simulations in post.

I forgot how lovely Fujifilm colors are.
Edited to taste slightly in ACR | ISO 800 | 1/500 sec | F4.5

The take away

There's something really strange/enticing about being able to shoot casually with a digital medium-format camera. And despite some sluggishness in its operation, the GFX 50S was surprisingly good for street and travel photography.

And while the entire experience was a bit overwhelming from a cultural perspective (I speak no Japanese and spent a lot of time alone with my thoughts listening to Tom Waits) exploring Tokyo with what I believe to be one of the most exciting digital cameras in a long time, was truly remarkable. I'm already planning a return trip.
So if you're not going to read any of this article, here's my takeaway: the Fujifilm GFX 50S is fun and easy to use and the files look awesome. What more can I say?


Πηγή: https://www.dpreview.com/articles/6143051542/fujifilm-gfx-50s-on-the-streets-of-tokyo-a-shooting-experience


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θα την κουβαλαγες μαζί σου ? εγω παντως οχι, εστω και να μου την ειχαν χαρίσει.

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