Objects of Desire

What objects do still life photographers really cover? Perhaps a product that combines quality, practicality and speed like a P 65+. Is this the key to catching the eye of someone like Mario Corsini?

One Shot Wonder

Michael Roscoe

Italian photographer Mario Corsini shoots alluring still life images. Working with large and medium format camera systems is often the first choice for photographers who expect the ultimate image quality. Mario Corsini demands the best quality but found using a digital multi-shot back to be laborious and slow to operate. Does shooting expensive products need to be time consuming? Compromise is not an option for this discerning practitioner but wasting time isn’t how this commercial photographer likes to work either. So could the Phase One’s P 65+ really solve this speed and quality conundrum?

Mario Corsini’s started as a photographer when he was a teenager working as an assistant for four years, at AdVisual, a graphics and photography agency in Siena that specializes in industrial and commercial photography. This Italian has honed his skills in the ensuing twenty seven years. He got his first big break when Royal Cristall Rock hired him to shoot some gemstones and he hasn’t looked back since. In the last three decades he’s opened his own studio, ASA64 in Siena, Italy where he employs three people. He and his team also work across Europe from Austria to Portugal shooting, among other things, architecture, furniture and still life.

When arranging product set-ups, Mario works closely with a stylist who also happens to be his wife. He lights all his subject matter using Arri Tungsten lighting where typical exposures times can be from 4 to 8 seconds. Attaining precise results is vital to Mario. He has ensured his stay at the cutting edge of photographic styles, although he modestly states that, “It is difficult to describe my style when shooting commercially as it depend on the designer and the client… Let me simply say that “I follow the trend””.

Photo Armory

There is no doubt that Mario is keen on keeping up with the latest photographic equipment and technologies as he has been a digital advocate for over eight years. Up until recently he has used a Hasselblad 506CW with P25 and Imacon 528. But after a time he discovered certain inherent limitations when working with a multi-shot backs as he states with a hint of frustration, “I needed a new system that could save me time.”

Mario found the solution in Phase One’s new 645 AF camera and a P 65+ digital back. Any uncertainties over image quality are quickly dismissed as he enthuses, “I needed a good new wide angle lens, and the 28mm from Phase One is really first-class. The P 65+ delivers so much detail that I didn’t need a multi-shot back any longer”. He now uses the P 65+ for most of his work, although he also uses large format camera systems including the Silvestri with 28HR lens, to achieve another perspective when the job demands it.

The P 65+ is Phase One’s flagship digital back, boasting the World’s first 645 full frame sensor. It incorporates a 60.5 megapixel resolution and industry leading image quality with an incredible dynamic range of 12.5 f-stops. It also has a number of impressive extra features, including a broad ISO range to help photographers to capture well exposed image in both bright and low light ambient shooting scenarios. Phase One has named it their Sensor+ technology that enables photographers to switch between the maximum resolution and fifteen megapixel captures to deliver an overall ISO range from 50 to 3200. But the vital issue for still life photographers is that the P 65+ captures images in one shot, so production time is rapidly speeded up without any compromise to image quality. It is also worth noting that switching to the 15 megapixel setting produces up to 1.4 frame per second capture rate, making the digital back a useful proposition for photographers that need to capture fast moving subjects.

Mario’s impressions of the Phase One system’s usability and handling are positive. He rates the build quality as good and the weight of the camera, lens and P 65+ as acceptable for a medium format camera. But Mario does feel the grip could be bigger and that the menu system needs some refining to make it more user friendly. He sums up by saying, “The P 65+ and Phase One 645 has become more and more like the DSLR concept; it is really user friendly and intuitive but offers, even better, superior image quality”.

Software solution

Mario shoots tethered from the P 65+ (via a firewire cable) to a laptop 90% of the time. He uses Capture One 5 software and like many former users of the older software has found it, “A little more complicated to manage,” but goes on to say, “all the extra features are very welcome”. He also appreciates the operating speed of the software and has benefited from the extra controls such as the High Dynamic range Shadow/Highlight facilities saying, “I am enthusiastic about these capabilities as it resolves many complicated exposure issues when the lighting is difficult to control”.

Capture One 5 saw Phase One completely overhaul its previous incarnation with a host of new features and capabilities to drastically cut down the time needed for post-production. There are new Lens Correction tools to counteract any detrimental lens characteristics. These tools also reduce any unsightly chromatic aberrations, purple fringing, and distortion and even permit photographers to alleviate light and sharpness falloff.

The software has also proved a boon to fashion and portrait photographers alike, with items such as the Skin Tone tool proving popular. This feature aids you to simply set and reproduce skin tones shot under any number of different lighting conditions, to get the precise look you want, even if you forget to use a gray card.

Shooting still life successfully can prove tricky but the essential outcome for Mario is to achieve accurate fidelity in the correct colours of the product. Capture One 5 offers all the normal White Balance, Kelvin and Tint adjustment possibilities, as well as standard hue and saturation sliders, but where it really impresses is with its Color Editor facility, for incredibly fine-tuning of individual tones at the click of a button.

The software has certainly impressed the Italian photographer who unequivocally states, “It is more complete [than the old version] offering numerous interesting new tools… It delivers all the performance photographers really need and its speed of performance and reliability is very good”.

But the real question for Mario was would he ever go back to his multi-shot digital back? His answer is emphatic. “The P 65+ makes a multi-shot [back] redundant. The one shot P 65+ is a faster and easier way to make my pictures and most importantly, it delivers better image quality!”

Mario Corsini, Italian Photographer

Visit Mario Corsini’s website

Equipment Used:

Phase One Camera System

Phase One P65+

Your P65+ Medium Format Digital System

Phase One has a both a generous competitive trade-in program and upgrade program.

To find out what your current digital back is worth towards a Phase One P+Back contact Chris Benes at 310-253-9008 ext 154 or use our contact form to sign up for a demonstration or to tell us about your specific needs.

Contact

June 8, 2010 — Category: Phase One Testimonials

P65+ meets Fiat 500

In Max Sarotto‘s world there is no room for compromise. He works with the World’s most powerful automobiles and for him there is only one photographic solution up to the job. Phase One goes behind the scenes on his latest shoot.

Max Power

Michael Roscoe

Max Sarotto’s career is in the fast lane of photography. His first professional job was shooting for Ferrari and ten years later his stock continues to rise. He is in demand from other blue chip automotive brands – Alfa Romeo to Fiat and Iveco. His latest shoot was capturing the Fiat 500 when Phase One’s P 65+ was given a full throttle test drive.

The P 65+ is by no means Sarotto’s first experience with Phase One equipment. In fact, he was one of the earliest photographers to embrace the digital revolution with his first Apple Mac in 1997 for postproduction work. Two years later he bought a Phase One Scan Digital back. It was around Christmas of 1999 that he invested in the Company’s LightPhase model that was the first in a series of ten digital backs purchased in the ensuing decade. Sarotto has always used Mamiya cameras. He started out with the RZ67 until he swapped to a Mamiya 645 at the same time as he upgraded to a P25 back. His dedication to staying at the cutting edge of technology with the most up to date photographic now includes a photographic armoury that includes a P 45, P 65+ and another upgrade to the Phase One 645 camera.

Lights, camera, action…

Sarotto spends the majority of his time working from his base in Turin, Italy where he is based in his own studio. However, he often works in nearby hire studios because he needs their gigantic proportions, with ceiling heights of around 18 metres, when he shoots pictures of the biggest cars, trucks and tractors. As some of these outside studios are 50 metres in length they are large enough to cater for these vehicles.

Preparation for one of Sarotto’s shoots usually starts with a couple of days of shooting test shots of different angles of the car so that the designers can see how it looks in a layout. It’s after this time that he’s briefed on how many pictures are required and from what point of view. He has a team of two general assistants and two lighting assistants and he says occasionally an art director and client will join him, although he says that the last two are more likely to join him when he’s working in a pleasant setting. He shot the new Fiat 500 both in a studio and on location and always uses continuous ambient light sources such as Kino Flo Neon lamps to illuminate his subject matter. Attention to detail is vital so lighting a car correctly can use up to 50 lights. The smallest detail needs to be highlighted and he explains that several lights are employed just for the front wheel because every surface is different. He continues by saying, “a wheel can have polished aluminum, painted aluminum… the brake disc is carbon and the caliper is another colour… so you need to be able to almost ‘feel’ the materials that are used on the car”.

The Phase One 645 with an attached P 65+ is mounted on a Gitzo carbon fibre tripod and Sarotto insists on using an Arca-Swiss panoramic head that he says he feels lost without. The P 65+ RAW files are shot directly into a Mac and the latest version of Capture One 4 PRO via a FireWire connection. Overall, the Fiat 500 shoot took a day to light and capture, followed by another day of work in postproduction. The final images of the car are a combination of between 7 and 15 images composed together. There are also another 3 to 5 for the ground and surrounding environment although he says a lot of the time the background is shot on another occasion. Intriguingly, he concedes that sometimes when he shoots a car it isn’t the final production version and may be much more of a prototype, so parts of it will change such as the wheels and they may have to be reshot individually and put into place using Photoshop. Sarotto does all his own postproduction so he has full control and creativity over his images. He tells us, “I know the effects that I want to attain and although an art-worker might be a master of postproduction they won’t have the same eye and sensibility as the photographer”. He uses a Mac Pro Quad-Core and Capture One 4 PRO to process the images but he admits it is more complex to use than the Capture One version 3 simply because it offers so many more features. “It is better because you can save time as you don’t have to do some much in Photoshop,” he enthuses. He also discovered another added benefit of the new software and that is developing the files is achieved faster than with the older software – a crucial factor to speed up workflow times especially as the P 65+ produces files up to 60 megapixels.

Performance and reliability

Cameras are a bit like cars – they are nothing unless they are handled well, have a powerful engine and a consistent performance, so how did he find Phase One’s latest offering? He states that because he has previously used the P 45, it was a very straightforward transition to use the P 65+ model. He says that it inherits much of its controls and firmware from its predecessor. He also finds that the handling of the Phase One 645 is just as easy because of the position of the controls and the grip. In addition, the weight and balance feel familiar to the Mamiya 645. But reliability is so often the key and he clearly asserts, “Build quality is perfect” and goes on to confirm, “in the last ten years I’ve bought ten digital backs. The products are strong, I’ve used them in -15 and 50+ degrees centigrade and I’ve never had a problem. I don’t ever remember getting a corrupted file”. Image quality should be a paramount concern for any photographer but Sarotto’s need for the 60 megapixel sensor in the P 65+ is easily justified when his images are regularly featured in billboard proportions. However, Sarotto has found that his clients often re-use older images for new campaigns by cropping the original down so added the benefit of shooting with the highest resolution digital back is that his images can be recycled without noticeable image degradation – and he gets paid again!

About the photographer

Name : Max Sarotto
Web : www.maxsarotto.it

Although Max Sarotto’s father was a photographer, Max studied economics at university. It was during this time that he became a photographer’s assistant and at 21 he went to New York for 6 months to work unsalaried for several high profile photographers. It was after his experiences Stateside that he decided to make photography his career in Turin, Italy 13 years ago. His decision was a good one and he has clients including Ferrari and Alfa Romeo. Although Max Sarotto’s father was a photographer, Max studied economics at university. It was during this time that he became a photographer’s assistant and at 21 he went to New York for 6 months to work unsalaried for several high profile photographers. It was after his experiences Stateside that he decided to make photography his career in Turin, Italy 13 years ago. His decision was a good one and he has clients including Ferrari and Alfa Romeo.

Equipment

Digital Backs: P 45, P 65+
Camera: Phase One 645AF
Capture One PRO

Phase One P65+ 645 DF Camera System

Rent or Own from DigitalFusion

The Phase One DF camera system with the P65+ can sync to 1/1600 sec. Contact Chris Benes at 310-253-9008 ext 154 or use our contact form to sign up for a demonstration or to tell us about your specific needs.

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June 8, 2010 — Category: Phase One Testimonials

Passion for dance photography

Photographer Adrian Weinbrecht puts his Phase One medium format digital backs, the Phase One P 30+ and P 45+ to work and realizes his dynamic vision.

Meet dance photographer Adrian Weinbrecht

Peter Eastway
You know when you’re working with a good dancer by all the little things… the way the foot is pointed or how the position is held, mid-air, until the last possible moment before hitting the ground. These are the things that make a big difference when shooting dance.”

Insight

Adrian Weinbrecht is an Australian-born professional photographer living in London. “I’ve been shooting for 21 years,” said Adrian with a smile, “even though I look much younger.” To be successful as an advertising photographer, you need to be positive, resourceful and command a presence. You also have to be a great photographer, but there are many great photographers who simply don’t get noticed because they don’t have the personality to go with it. That doesn’t seem to be a problem for Adrian! “I considered studying law, but when I looked at older lawyers I decided that this wasn’t the life for me. I had always been passionate about pictures, so I walked into a local studio one day and was offered a job on the spot as an apprentice.” Adrian studied photography part-time at Mt Lawley College, Perth, with esteemed Australian educators such as Brian Barrow and Mike Taylor, and expanded his experience by working in a pro lab, a city wedding studio and finally in a commercial studio as an assistant and studio manager.

By the age of 23 he had saved enough money either to put a deposit on a house or to travel overseas. “I believed I could go to Europe and in two or three years of assisting learn what would take me 10 years shooting in Australia. I had no intention of staying away from Australia, of course.” That’s not quite how things turned out. After gaining experience in Switzerland, Germany and England, he returned to Perth in 1996 to start his own studio, but it wasn’t long before he found himself back in London and married. “Assisting in Europe and working with a number of different photographers gave me very solid foundation, not just in photography but in business philosophy and methodology. I also did a short business course because my observations showed me that those who succeeded weren’t necessarily the best photographers, but without exception they were certainly the best business people.” Today Adrian shoots for a diverse range of clients (including Sony, Unilever, HSBC, UBS, Lucozade, Mazda, Land Rover, 3 Mobile and a range of publications), yet it appears his passion is for dance photography. “A few years ago, a PR friend approached me, showered me with flattery, told me she had no money and asked if I would photograph dancer and choreographer, Cathy Marston. Cathy had been with the Royal Ballet and was starting a new project for which she needed some photos. The job sounded like fun and, having always been interested in form and movement, I said why not.”

The Dancer

The association with Cathy Marston provided several opportunities and Adrian developed his approach with each new assignment. The first photographs were taken in the studio with Cathy in a black dress and striking unbelievable dance moves. To accommodate her movement, Adrian used only one strip light horizontally, placed high above so the dancer could jump up and forward, without feeling restricted by the light heads. With this introduction, Adrian discovered that he loved dance photography. Cathy also loved the first set of images so much that she returned a year later, this time with a group of dancers.

For the second session, Adrian created a more involved lighting set up. Used as promotional photos for The Cathy Marston Project, the shoot took place again in Adrian’s home studio, a relatively small space, but ample in size for the dancers. “I often shoot a little wide because this way you can give the dancers space to move, and of course shooting on medium format you can crop afterwards with no problem.” Adrian is an advocate for Phase One medium format digital backs, using P30 and P45+ backs, although by now he may have moved into a P65+.

The quality and dynamic range of the files is ideally suited to his dramatic studio lighting, holding both shadow and highlight detail, plus all the nuances and texture of the skin and clothing. “On this occasion I used several lights positioned behind and to the sides of the dancer, creating an outline around Martina to contrast against a black background. I really wanted to show a lot of shape and I think this was achieved with the modelling you can see in her arms and legs.” The outfits were put together by Turkish fashion designer Bora Aksu the weekend before the shoot – he was a friend of Cathy’s and, Adrian acknowledged, the outfits were very beautiful. Adrian’s years of studying martial arts helped him to relate to the form and movement of dance, and Cathy obviously liked his work because when she was offered the position of Creative Director for the Berne Ballet, Adrian found himself on a shoot in Switzerland with a twist.

Lake Thun

Wanting to produce something quite different to standard studio work, Adrian thought of taking the dancers outdoors. “I flew to Switzerland and scouted a number of places, but when I returned a couple of weeks later for the shoot, the weather had closed in and I ended up photographing the dancers in the studio.” However, he continued with the location idea, photographing each dancer so he or she could be seamlessly stripped into his outdoor backgrounds. For instance, the dancer at Lake Thun is holding the most incredible pose, high above a blue lake with her head turned back towards a bright, blazing sun.

“The location was photographed midmorning in August with a summer feeling to the light and the location. When I took the exposure, I bracketed several stops, but kept the aperture constant. I exposed for the sun, for the mid-tones and for the shadow areas. I mean, you already have the most amazing dynamic range with the medium format backs, but when you combine three different exposures, what you have is nothing short of sensational. In the finished file there’s detail everywhere.” Back in the studio, Adrian adjusted his lighting to mimic the sunlight under which he photographed the lake. Each shoot might last only five minutes and Adrian marks up a square on the studio floor to give the dancers an area within which to work, rather than a precise position. “I also needed to take into account the camera height and angle to ensure that the dancer would look like she really was jumping off the pier.

The lights were angled to produce a strong highlight down the edge of her legs, just as the sun would have done. “Before we began, I showed the dancer the background image and explained that we wanted something that didn’t look like a typical dance movement. We didn’t want a classical pose from the Nutcracker, rather a deconstruction of what the dancers have learned in order to produce a more contemporary feeling. “It’s pretty simple stuff as long as you think it all through.” Adrian uses Elinchrom lighting and says he owns just about every accessory and light shaper they make. And shooting with studio flash means there is a short pause between exposures while the floor packs re-charge, so after the dancer jumps, there is time to re-balance, ready for the next movement.

It’s not a matter of shooting with a DSLR firing at 10 frames per second, rather Adrian watches the dancer and with a little practice can nail the peak moment. He would take no more than twenty or thirty shots in a session. “Normally I only direct dancers when something’s not working. I like to see what they can come up with before I take over – maybe what they do on their own will be even better than what I imagined.”

A Matter of Multiples

Shooting single dancers can be challenging enough, but capturing two, three or more at the same time is more interesting still, especially the lighting and timing. The light has to be broad in coverage and suitable for a range of different dance positions. And then there’s the small matter of synchronising the dancers. “It’s not as complicated as it sounds. I just count to three and the dancers jump. I suggest they’re careful and don’t kick or punch each other (it can happen), because the strongest compositions are usually made when the dancers are close together. However, this is what they do for a living and usually it doesn’t take too many shots to get it right.” Adrian says he doesn’t believe in working tethered for dance photography because he feels it changes the dynamics of the shoot.

“I want the focus to be on what’s happening in front of the camera, not the computer screen at the back of the studio. I also like downloading the photos from a card because this means I have the data in two places and I never over-write a card on the same day. “However this isn’t to say the dancers don’t get to see what I’m shooting. During a break we may show them the images on the back of the camera so they can see what’s happening, but I find that you don’t have to direct good dancers much at all. I don’t mean to make it sound easier than it is, but typically professional dancers move really well and understand what you’re trying to achieve.”

While Adrian admits some aspects of his images can be happy accidents, like the juxtaposition of dancers or the flow of a costume, by paying attention to the lighting and equipment he uses, he’s able to maximize whatever he’s given. “There are no rules for shooting or lighting dance photography. Every situation is different and calls for a different solution.” To see more of Adrian’s work, visit www.adrianweinbrecht.At the end of a shoot for the Berne Ballet, all the dancers joined in for a group shot! com.

About the photographer

Name : Adrian Weinbrecht
Web : www.adrianweinbrecht.com
Email : info@adrianweinbrecht.com

Adrian Weinbrecht is an Australian-born professional photographer living in London. He has been shooting for 21 years. He says: ”To be successful as an advertising photographer, you need to be positive, resourceful and command a presence. You also have to be a great photographer, but there are many great photographers who simply don’t get noticed because they don’t have the personality to go with it.”

Equipment

P 45+ digital back
P 30 digital back
Capture One 5 PRO

Are you ready to step up!!

DigitalFusion can help you find the the right medium format solution to fit your needs. Start with a visit to DigitalFusion and demo the new Phase One DF Camera system. To get 25% off your first Phase One rental use the contact button and select Phase One Rental!

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June 8, 2010 — Category: Phase One Testimonials

Natural Selection

In this tricky economic climate, photographers are hedging their bets on where to invest their cash. But Michael Roscoe finds out that the smart money is on Phase One as he talks to award winning nature photographer Jan Töve.

Jan Töve; Natural Selection

Michael Roscoe October 5, 2009

Töve first picked up a camera nearly 40 years ago and started his interest in nature photography soon after. He published his first book in 1996 entitled, ‘The Reflection ‘, which he describes as a mixture of what he loved to photograph at that time. He had previously, won Foto magazine’s ‘Scandinavian Photographer of the Year’ in 1995 and was the runner-up in the 1992, BBC Wildlife Photographer of the Year competition, as well as being accepted into the prestigious ‘Nature Photographers’ Association of Sweden’.

It was back in 1988 that Töve first started using a Mamiya 645 after previously shooting 35mm. Unusually, he chose this medium format camera to capture all his images including fast moving wildlife subject matter like birds. This preference for the medium/large format is because image quality is paramount for this photographer and, because of his considered approach to his subject where he is willing to wait for the right shot. “I’m not an action photographer,” Töve clarifies.

Jan Töve was as equally measured and discerning when he switched to digital and was not the first to jump on the bandwagon. “The first digital camera I used was an 11 megapixel Canon DSLR and I wasn’t satisfied with how the image looked. There was something digital about it… It screamed digital”. Töve kept an eye on subsequent new Canons and Nikons, but remained skeptical – that was, until he tried the Phase One P 25 (digital back). “The dynamic range, a 3D character, it was film-like and I said, ‘Wow, now we’re talking’, this is how it should look. I borrowed a P 25, tried it and loved it from the first moment I used it”.

Digital workhorse

It is now over a year since Töve bought a Phase One 645 and a P 25+ digital back, as well as a new 45mm lens, to add to his Mamiya collection. His initial plan was to shoot 50% of his images with his new digital investment and continue to use his large format 8×10 analogue gear when necessary. However, he soon discovered that this 50/50 split changed to 90/10 using the Phase One gear to shoot the majority share of his work. “I’m so satisfied with the equipment and the camera,” Töve enthuses as he explains, “The quality is fantastic and I can work slowly or fast with the Phase One gear, whereas with 8×10 format you can never be fast”.

But this Swedish freelancer is not one to stand still in his career or in his choice of photographic gear. After his first book was completed, he switched from shooting animals to capturing landscapes because, in his words, “I didn’t want to spend anymore time sitting in hides – I needed a new challenge”. One creative benefit he found when using the P 25+ when shooting his recent land and seascapes is its Xpose+ technology. “Sometimes I want to let the wind blow or make the sea look calm and you can do this with these long exposures… I can’t say I’ve used the P 25+ for an hour exposure but I’ve used it for up to 6 or 7 minutes and there’s no noise, it’s fantastic”.

Easy upgrade

In his career Töve has demonstrated his versatility by producing books on his personal work, by shooting for Getty images and by regularly working on assignments for specialist and general interest magazines. Recent commissions include photographing an entire motor biking family and capturing reportage images for a food themed article where he traveled Sweden looking at everything from vineyards to the Country’s fish industry. He has recently also made the decision to buy Phase One’s flagship digital back, “I’ve tried the P 65+ and it is wonderful,” Töve explains, and he admits this digital back will just about signal the end of his time shooting film as he states he is likely to use it “99.5% of the time”.

Your Easy Upgrade

Phase One has an very generous upgrade program.

To find out the value of your digital back towards an Phase One upgrade, please contact Chris Benes at 310.253.9008 x 154 or use our contact form to tell us about your current back and the back or camera system you’d like to upgrade to:

About the photographer

At 51 years old, Jan Töve has been a full time professional photographer since 1994. He lives in Hökerum, in the west of Sweden. Besides his series of acclaimed books, Jan Töve has also produced films for Swedish Television, among other clients. He sums up his approach to and enthusiasm for photography by saying , “It’s important to keep the joy in what you are doing…I try to keep my personal way of photography by doing my own projects besides all the work that I do – that’s why I do new books and exhibitions”.

His latest project called ‘Silent Landscape’ is due to be completed later this year.

Equipment

Phase One P25+
Phase One AF 645 Camera
Phase One 28mm, 45mm, 80mm 120mm Macro and Mamyia f/2.8 MF.

June 7, 2010 — Category: Phase One Testimonials

Snow, ice and winter

In January, Michael Reichmann of The Luminous Landscape, led an expedition of 77 photographers and instructors to the Antarctic. Phase One tested the brand new P 65+ under these harsh conditions, – Walter Borchenko talked to 4 of the photographers after returning….

Antarctica with the P 65+, Why upgrade?

Walter Borchenko October 5, 2009

In January, Michael Reichmann of Luminous-Landscape led an expedition of 77 photographers and instructors to the Antarctic. Many were shooting with a range of DSLRs, and ten were Phase One digital back owners. Kevin Raber, vice president of sales for Phase One US, and a talented photographer in his own right, brought along a number of Phase One camera systems with both P 65+ and P 45+ digital backs for photographers to try.

This type of trip is not for the feint of heart! Severe seas, instant storms, rain, ice, snow and 20- hour days left a grueling mark on both photographers and equipment. This two- week odyssey was Michael Reichman’s third expedition to the Antarctic. Even so, there were many surprises, including a significant amount of equipment failure. For details see Michael’s article.

Upon their return, seven photographers upgraded or purchased Phase One P 65+ backs and all were impressed with the quality and durability of the Phase One solutions. All of the Phase One equipment performed without failure, under extremely difficult conditions. We asked four of the participating photographers to share their experiences and tell us why they upgraded or purchased the new Phase One P 65+.

Mark Dubovoy

I have a P 45+ on a Hasselblad right now. I looked at some P 65 + files from this Antactica trip and there is a difference. The first thing that struck me was the color rendition. The P 65+ appears to be smoother and more liquid. It appears to capture micro dynamics better. These are the very, very small differences of color and the very subtlest of gradations.If I were to take a picture of a green leaf with the P 45+, it would be able to deliver 15 to 20 shades of green while the P 65+ would deliver 100 shades of green. To me the difference is instantaneous to the eye and now that I have seen it, I cannot live without it!”

Upon return from Antarctica, Mark Dubovoy has made the choice to upgrade his P 45+ to a P 65+ and at the same time sell off his Hasselblad system and change to Phase One. Mark Dubovoy’s life long passion for photography has been recognized internationally. His images are in the permanent collections of the Museum of Contemporary Art in Mexico City, the San Francisco Museum of Modern Art, the Monterey Art Museum, the Berkeley Art Museum and the Museum of Modern Art in Nanao Japan. His list of exhibitions and workshops is extensive. Holding a degree in Physics from the National University of Mexico, an MA and a Ph.D in Physics from the University of California at Berkeley, makes it easier to understand Mark’s dedication to flawless technique The results created at this level are easily affected by nuances in optics, functionality of equipment and the capabilities of the technology.

“I like working with a view camera – no question, hands down. I personally see a big difference with top of the line view camera lenses compared to medium format lenses. I use two different view cameras. The first is a Linhof 679 CS. I work mostly with Rodenstock HR lenses and I love that camera. It’s obviously heavy and slow to set-up compared to a standard medium format camera but it gives me huge flexibility, more movements than I would ever want and terrific precision. I am also using an Alpa TC. I give up a sliding back and the camera movements with the Alpa. What I gain is that it is incredibly light, versatile and fast. I like to work with wide angle some times and clearly the full frame P 65+ will be better for that. If I am shooting with wide angle, hand held, I would much rather use the Alpa than a medium format camera. My photography tends to be deliberate. I find that slowing down and seeing the image up side down makes my rate of success much higher. I also find that graphic content and composition are better. It’s a personal choice. Some people prefer to shoot in a photojournalism style. They take a lot of shots, then find the few that they like. I like to be the opposite. I like to slow down, smell the roses, and very carefully compose.” The way we think and use our tools can push a heavily photographed subject in new visual directions. That’s what makes photography so interesting. Mark’s thinking is directly reflected in the creative nuances of his work. “I enjoy the process of capture as much or more than anything in photography. Sometimes, I feel that whether I release the shutter or not, is irrelevant. I am a funny guy because I enjoy the process of capture and then I enjoy the post process immensely. This leads me to believe that I might do things a little differently with the P 65+ because it is the next level of quality. That always makes you act differently. I believe it’s going to make me focus on those small transitions and the subtlety of perfect colors more than I have in the past.”

Paul Tornaquindici

“Kevin handed me the camera, and I began to shoot some images. Making our way through the Gullet provided some remarkable opportunities and extreme challenges for any camera. I downloaded the files to my computer and opened them in Capture One. I was stunned by what was on the screen! I have never seen images on my computer screen with the clarity, resolution and dynamic range that these images possessed. Zoom in as far as you want and they were remarkable. I called some of the other photographers over to see what I was seeing. My question was,”Tell me have you ever seen a better image, ever?” Clearly the answer was no! I was scheduled to upgrade my Hasselblad systems to the new H3DII-50 but clearly that would be a step in the wrong direction.

Paul started in photography back in high school and college and then abandoned photography until 2004. Life, a paycheck and a 24-year commitment to teaching inner city kids has been augmented with several successful businesses. In 2004, taking inspiration from images of Iceland that he saw on The Luminous Landscape web site, Paul picked up a camera and has since produced a significant body of work. The focus and passion of his work is summed up by the following quote. “I look at my images and they are notes of praise for the handiwork of creation! It’s a privilege and it’s very powerful to be in these places and take these images.” For the Antarctica expedition, Paul brought two H3DII-39 Hasselblad systems and 28, 35, 50-110, 210 lenses. Also included were Canon 1DsMK IIIs for when weather/climate did not permit him to use the Hasselblad system. The P 65+ experience has really changed Paul’s perceptions. Nothing is more inspiring than confidence. “The P 65+ will give me the best file possible! In my landscape work I would like to be able to capture all that moved me to make the photograph in the first place without compromise. Phase One’s P 65+ frees me from those concerns and instills complete confidence knowing what I have framed in all its beauty will be waiting on the screen. I love traveling to places that are extreme – Antarctica, Namibia, Iceland — and Phase One has demonstrated that this is a back that works regardless of the environment and weather. I have had to put my Hasselblad system away many times because of weather conditions. Now, no more missed shots, or settling for a lower resolution file from my DSLR. To me that is very exciting! Actually I am going to use the P 65+ on an Alpa with Rodenstock HR lenses, as this will give me the best possible image. The experience was remarkable! It was sur-prising to be handed a camera system without having any prior testing or experi-menting and be immediately comfortable enough with it to produce some fine work. Simple, intuitive controls meant less time scrolling thru menus and more time in the viewfinder. The camera was well balanced, solid and fit well in my hand. The best compliment was it never got in the way of taking pictures.”

Paul Indman

Paul has been taking photographs seriously since he was a teenager, using 35mm, medium format and view camera systems. As the collections on his website will attest, a strong passion and a dedication to craftsmanship are a must at this level. Printing is handled with an Epson 9900, 44″ printer. Images are commonly 40×60 inches. At this size, subtle inadequacies in a file become extremely obvious. The P 65+ is not just about more resolution but about a whole new type of sensor that breaks many of the quality barriers. The ultimate impact is that the P 65+ really changes the viewer’s experience. “Although prints this size (40×60) are meant to be viewed at a distance, the ability of the P 65+ to preserve the fine details on closer observation adds greatly to the feeling the image conveys” Creative expression is also about choice of tools and options. The experience, perspective and impact of each tool, becomes part of the creative repertoire that photographers can call on. Without this range of choices, the subtle nuances each photographer brings to a particular subject are greatly reduced. The point of photography is for all of us to look different, not the same. Photographers who need to differentiate from one another are investing in more options, not less. Having a choice is becoming both a creative and a competitive advantage. “The Phase One camera is a system in which there are many excellent affordable lenses. More important is that the back can be used with many camera bodies and lenses. I brought my Cambo Wide RS with superb Schneider Digitar lenses. While the images using the P 45+ back are excellent, I am looking forward to using the P 65+. I would not invest in a back that could only be used with the manufacturer’s body. The P 65+ combines large format image quality with the speed and flexibility of a medium format camera. I was able to photograph penguins on a rainy day, and use the Cambo Wide RS almost as a point and shoot. But the real pleasure comes from looking at the unbelievable quality of the finished prints.”Christopher Hauser

“There were several reasons, which together persuaded me to upgrade to the P 65+. The shooting speed is much faster than my P 45+ and made things a lot easier for me. I always feared that through the move to smaller pixel size, the ISO performance would just stay the same or be worse than on my current P 45+. This is not the case. I was quite surprised when I saw ISO 400 images from the P 65+. I even would consider using ISO 800 if it were necessary. The extra resolution is always handy. I love to print large (up to 40×60) and with the P 65+ I can do that without stitching many frames. Finally, full frame is really nice. Altogether it is not a small upgrade, it really is a step upwards.”

Christopher Hauser

Christopher Hauser has only recently chosen photography as his creative outlet. In 2004, Christopher picked up his first serious camera and decided that photography is what he wanted to do for the rest of his life. After graduating from high school, he moved to London to further his education. In 2008, Christopher graduated with a BFA in Photography. Working out of Munich Germany presents a unique opportunity to embark on a photographic career in a completely digital age with little or no baggage from the analog past! “I often get asked how I became drawn to photography. The answer is quite simple, there is nothing more beautiful for me than taking photographs of places that create emotion and make us think about ourselves and our world. Sometimes I want to raise awareness, evoke memories or just show the viewer the beauty of our blue planet. Generally I leave the long speeches to the masters of words and prefer to use my images to convey how I see our world. As an old saying goes: “A picture is worth a thousand words”. The technical aspects of equipment have quickly become limitations. Possibilities are opening up with the P 65+ that have never been available before, what used to be the quality seen at ISO 200 is today the quality seen at ISO 400, most aspects are at least one step up the quality ladder. For photographers who are sensitive to the impact of equipment choice on the final image, we are in a new age. Christopher has focused on using the best equipment possible and pushing the limits to understand what’s possible. It’s all about building the creative repertoire “A lot of my work is in panoramic format and here the new back shines. It’s much easier to shoot longer panoramic images with the P 65+ compared to my P 45+. Sometimes it’s not possible to use a tripod, and the faster ISO comes in handy. It’s also quite nice that one can finally use the whole viewfinder to frame and not be distracted by a darkened mask. One important reason I chose the Phase One solution was the whole package. I tried every other system, but the Phase One camera felt just right. It felt rock solid and I have never been disappointed by my decision. The best part about the P 65+ came when I sat down to look through the images on my computer. The dynamic range is fantastic, the detail amazing, but there is something more. I can’t yet put my finger directly on what it is, but the images from the P 65+ look better than anything I have seen so far from my P 45+. It probably will take some more time and working experience with the P 65+ before I can say exactly why it is so much more magical. In the next few months I will be working on architecture projects. I’m especially eager to try out the new Linhof TECHNO with the P 65+, I expect that this combination reaches a whole new world when it comes to image quality. This summer I have some larger trips planed to the USA, New Zealand and Asia, and the Phase One camera solution with the P 65+ digital back will be my main camera.”Conclusions

The range of experience, choice of equipment and variety of styles with this group of photographers is diverse. Yet each has found something in the P 65+ that is so compelling that they have either upgraded or purchased. For many years, new products have only provided incremental changes in quality. The P 65+ represents a major technological breakthrough that heralds back to the beginning of digital capture, when each new product was leaps and bounds ahead of the previous generation.

Kevin Raber is Vice President of Phase One US and an accomplished photographer. See more of Kevin’s work at: www.kevinraberphotography.com

Walter Borchenko has for years been a highly appreciated consultant and ambassador for Phase One.

To see more of Walters photography go to: www.photoartcreative.com

Your P65+ Upgrade:

Phase One has an very generous upgrade program.

To find out the value of your digital back towards an Phase One upgrade, please contact Chris Benes at 310.253.9008 x 154 or use our contact form to tell us about your current back and the back or camera system you’d like to upgrade to:

June 7, 2010 — Category: Phase One Testimonials

P 40+ the perfect wedding partner!

Jerry Ghionis familiarises himself with the Phase One P 40+ back in preparation for a busy Australian wedding season.

Step One For Medium Format Weddings

Peter Eastway October 6, 2009

“The quality continues to astound me”, expressed an enthusiastic Jerry Ghionis. Talking about his recent move to the Phase One P 40+ medium format digital back, he added, “I know I said it when I first started shooting with the camera, but the amount of detail is ‘ridiculous’, especially the back’s dynamic range. It’s astounding!”

When the P 40+ was released, Jerry produced a series of studio portraits which were published on the Phase One website. What many people might not have immediately realized is that the portraits were lit with a constant fluorescent light source and the Phase One’s P 40+ sensor set to ISO 400! “It’s amazing how no-one questioned the image quality. I guess they just assumed the photos had been taken using studio flash with the P 40+ back its nominal ISO 50. I think that’s a great compliment because the sensitivity improvements have revolutionized medium format digital photography. Now that I’m able to set the back to ISO 1600, it’s a whole new world out there.”

Since taking possession of his Phase One P 40+ a couple of months ago, Jerry has been around the world delivering seminars and leading workshops. Renowned for his business acumen and photographic vision, he is much demand as both a speaker and a photographer, so while he’s been using his P 40+ extensively, he hasn’t yet shot a lot of weddings. “It’s been winter back home in Australia”, Jerry explained, “and these aren’t the months my clients generally choose for their wedding ceremony. If they want to be photographed outside or in the afternoon, it’s too cold in Melbourne and so I’m much busier in the summer months – or I’m shooting at a destination further north.” And that’s where the photos accompanying this article were shot – further north on Hamilton Island in the heart of Australia’s famous Great Barrier Reef, or in Paris, France.

Seeing is believing

Fellow wedding photographers Ryan and Jessica Schembri were married on Hamilton Island. A stone’s throw from the famous sands of Whitehaven Beach and Hill Inlet, the Island boasts an intimate chapel and a host of glamorous locations for some beautiful portraits. Jerry says he enjoys using the slightly squarer format of the P 40+, it has a more formal quality and reminds him of the Mamiya RB67 he used many years ago. “It’s also a subtle way of differentiating what I do. Most wedding photographers are shooting with a 3:2 ratio DSLR and not cropping, so immediately my images have a different look to them. And then, of course, there is the quality of the medium format capture itself.” There are two key quality issues that Jerry sees as fundamental to his work as a wedding photographer. The first is clarity – the sharpness of the image and the resolution of fine detail. Although his hero images will be retouched, especially the skin, there’s no faking in the crispness and clarity of the bride’s eyes, the fine textures and embroidery of her dress, or the flower in the groom’s lapel. You can always reduce the sharpness of an image, but the only way of producing lifelike detail is with a high quality sensor and lens. If there’s one subject that requires a wide dynamic range, it’s a wedding portrait. Invariably the bride is wearing a white dress while the groom is attired in a formal black suit, a nightmarish recipe for many cameras. But not for medium format digital backs. With the physically larger size of the sensor and the commensurately larger size of the individual pixel sites, medium format backs can retain a wider range of brightness values in a single capture.

The P 40+ features a 40-megapixel sensor with pixels individually measuring 6 microns, capable of recording in excess of 12 f-stops dynamic range as a true 16-bit capture. Not only can you capture and retain the detail of both dress and suit in a single exposure, the transitions are beautifully rendered with unparalleled realism. “Even with the bright, contrasty conditions on Hamilton Island, I could take Ryan and Jess to a range of different locations without worrying about the light – but let me explain. Naturally I’m concerned about the light because obviously that’s what makes a great photograph what I mean is that I can find and use a much wider range of light qualities and still retain a beautiful tonal range throughout the image. “Shooting with smaller sensor cameras which have less dynamic range, you need to watch the light much more carefully so you don’t lose detail, either in the shadows or in the highlights. This generally means more restrictions for where you can shoot, perhaps keeping your subjects in shadow or even taking them indoors?” In comparison, Jerry noted that these restrictions are simply not an issue when shooting with the Phase One P 40+ because its dynamic range is wide enough to retain detail even in very contrasty lighting. Jerry said that a number of wedding photographers on internet forums had queried why he needed to change from DSLRs to medium format. “How do you explain the difference in words when it’s such a visual difference? Medium format digital is something you need to experience first hand in order to really understand the quality differences. I love the way I can open my files in Capture One 4 PRO and there is detail everywhere in the image. It’s fantastic.”

Handheld

“When you think about it, it’s really incredible that I can shoot hand held with a camera system that delivers so much quality. I used to think you needed to use a tripod and a large format camera to produce image detail like this, but with the Phase One 645 camera, I have no trouble shooting quickly and freely.” In fact, the Phase One 645 with a P 40+ back and lens is not that much larger than a professionally specified DSLR camera. And it operates just as easily. The top shutter speed is a movement freezing 1/4000 second, a setting that can be used more often with the Sensor+ technology introduced with the P 40+ (more about that soon). A TTL phase-detection autofocus system with three focus point can quickly and accurately set focus, while TTL metering offers average, spot and auto settings with fully automatic exposure control if you want it. All the professional controls are there as well, including an electronically-activated mirror-up switch, first and second curtain flash synchronization, the ability to accept leaf shutter lenses (coming soon), and three user presets for customizing the camera’s operation.

Sensor+

New technology introduced with the P 40+ enables the back to operate at higher ISO settings and in Sensor+ mode, it can be set as high as ISO 3200, although Jerry believes ISO 1600 will be the top setting for him in a wedding context. Phase One has made some remarkable changes to the way medium format digital backs will be perceived in the future. To date, medium format has generally been used at relatively low ISO settings, unable to compete with the higher ISO settings available on some DSLR cameras. There are two notable changes with the P 40+, one at full resolution and a second change at a smaller resolution. At full 40-megapixel resolution, the P 40+ can be comfortably rated up to ISO 400 and produce remarkably clean, clear, saleable results. Suddenly medium format digital is every bit as good as the film cameras that used to rely on ISO 400 for weddings and portraiture. But digital has gone beyond ISO 400 and while the P 40+ can be used at ISO 800 in full frame mode, by switching to Sensor+ mode it can be used even higher, up to ISO 3200.

This is the second, major change and the new Sensor+ technology is based on ‘pixel binning’. The basic principle is to join four pixels together in order to capture more light, allowing the sensor to operate in lower light situations or to offer higher shutter speeds or smaller apertures in others. In this way, ISO settings can be raised and the camera used in low light or at faster shutter speeds for hand held photography. And the good news is that while switching to Sensor+ mode means you change the back’s resolution from 40-megapixels to 10-megapixels, you don’t change the area of the sensor being used. There’s no unwanted cropping which changes the effective focal length of your lenses.

“I haven’t used the Sensor+ technology very much yet”, explained Jerry. “Ryan and Jess’s wedding had plenty of light and so I was able to shoot at ISO 400 in full frame mode, while in Paris I did a shoot indoors, at ISO 800. “And although you can rate the back at ISO 800 in full frame mode or ISO 3200 in Sensor+ mode, I’m more comfortable shooting at a stop lower, at ISO 400 and ISO 1600. It’s nice to have the extra stop there for emergencies, but a stop down gives me remarkable quality that isn’t available with any other camera system.”

So, Jerry has completed the first stage of his transition to medium format digital, enjoying the improved sensitivity and raw processing provided by the Phase One P 40+ back and Capture One software. In a couple of months he will report back again, this time with his experiences using Sensor+ mode and shooting at mind-boggling ISO settings for medium format digital photography.

About the photographer

Name : Jerry Ghionis

Web : www.jerryghionis.com

Jerry Ghionis started his professional career in 1994 and has emerged as one of the most influential wedding photographers. Australian born and Greek heritage he is based in Melbourne Australia. Jerry stamps a recognizable and unique style with everything he photographs. His versatility extends to the wedding, portrait and fashion fields.

Equipment

Phase One 645 camera
Phase One P 30+ digital back
Phase One P 40+ digital back
Capture One 4 PRO

Your P40+ Phase One System

A great combination of image quality and speed!

Imagine the image quality shooting with a 12 stop dynamic range at the speed of one frame per second. The perfect combination of quality and speed. Contact Chris Benes at 310-253-9008 ext 154 or use our contact form to sign up for a demonstration or to tell us about your specific needs.

Contact

June 3, 2010 — Category: Phase One Testimonials

Turning Medium Format

Peter Eastway interviews Jerry Ghionis about his move from DSLR to medium format digital and what it means for his wedding and portrait photography.

Turning Medium Format

Jerry Ghionis believes the new Phase One P 40+ medium format camera system is going to create a brand new market segment for wedding photographers and he plans on being the first to exploit it! In the profession of wedding photography, few are as well-known or respected as Australian photographer Jerry Ghionis. Now working from an up-market boutique studio in the modern Docklands area, Melbourne, he shoots weddings, portraiture, fashion and special event assignments. A Master of Photography with the AIPP (Australian Institute of Professional Photography), American Photo magazine listed Jerry as one of the Top Ten Wedding Photographers in the World and Microsoft has named him an Icon of Imaging.

Jerry’s assignments and seminar engagements see him travelling the globe several times a year. An inspirational public speaker, there is standing room only for his platform presentations at congresses such as WPPI (Wedding Portrait Photographers International) and PPA (Professional Photographers of America) where he is hugely influential, promoting in-camera creativity to turn the ‘ordinary into the extraordinary’. And he has had extraordinary success in photographic competitions, winning for example six International Wedding Album of the Year awards at WPPI in the last seven years. So when Jerry Ghionis made the move to medium format digital, the world took notice. Why after creating such a big reputation with DSLR cameras would he change camera formats, specifically the Phase One P 40+ camera system?

Stepping Up

Jerry explains his move to medium format with one word: quality. “It astounds me”, he explained. “I picked up my new camera from L&P Digital Photographic, took it home and made a few shots from my balcony overlooking Melbourne city. When I opened up the files on my computer, I couldn’t believe how far I could zoom into the image. I mean, I could see people inside the windows of buildings several kilometers away – I was seeing detail I wouldn’t dream of seeing before.” The new Phase One P 40+ (with Sensor+ technology) features a 40-megapixel sensor with 6 micron pixels, producing a 7320×5484 pixel image with a 4:3 ratio format. This is nearly twice the resolution of Jerry’s existing DSLR camera.

“And there was something else about the image quality that I loved. It wasn’t just the clarity and the fine detail, it was the way the digital back records highlights and shadows – the dynamic range. Working for years with DSLR cameras, I guess I just accepted the image quality as being the best that was possible, but now looking at a medium format file, I have reassessed what quality is all about. It is simply amazing!” Jerry is referring to medium format digital photography’s most powerful advantage: a huge dynamic range. The P 40+ has a 12.5 f-stop range, once again almost twice what is provided by a DSLR camera, enabling images to record and retain detail in both highlights and shadows in a single exposure.

For a wedding photographer shooting brides with white dresses and grooms with black suits, medium format digital quality is the ultimate solution. Clients spend a lot of money on the dress and suit, so it’s imperative that all the photographs show the finest detail. Shooting weddings is perhaps the most demanding of all photographic disciplines. Working in a range of different locations, often in the late afternoon and early evening, Jerry is constantly working in low light. In fact, he looks for and creates mood and atmosphere with available light and one or two of his signature light sources. Until the Phase One P 40+ arrived, Jerry says medium format wasn’t an option for him because he couldn’t shoot at over ISO 800. Now with the press of a button, the P 40+ with Sensor + technology can have Jerry shooting at up to ISO 3200. Sensor+ technology, developed by Phase One, uses a process of ‘pixel binning’ to provide higher ISO settings. With the Sensor+ feature activated, the P 40+ back combines the data from four pixels into one piece of data, providing a four times increase in sensitivity. And while the size of the resulting file changes from 40 to 10-megapixels, it does so without changing the size of the capture area so the focal length remains the same.

“Years ago when I was shooting with a Mamiya RB67, I basically used ISO 400 film and that was it! However, today it’s a different world and shooting at higher ISO settings is a necessity, especially for the type of photography I do. “I love shooting with candle light and video lights and I need to shoot hand-held in dark churches. The choice used to be flash or a tripod, but neither suit the style of photography I produce, so having a high ISO setting on a medium format digital camera is simply priceless.” Even more importantly, Jerry explains, when you capture images in low light, it’s all the subtleties in the shadow areas that make the difference. “Think about a bride and groom walking proudly down the aisle as they leave the church and your photograph not only renders the folds of the dress and texture of the suit, but there’s fine detail in the ceilings and stained glass windows in the church as well. How amazing is it to have a 12.5 stop dynamic range!”

Camera Ergonomics

Jerry says the Phase One 645 camera is just as easy to use as a DSLR. “It handles beautifully. When I first held it, and I know this is a bit of a cliché, it really did feel like an extension of my hand. It’s got a beautiful, comfortable grip which for a medium format camera is imperative if it is to be considered was a viable option for wedding photography. And it’s not as heavy as you might imagine it to be.” The Phase One 645 camera offers shutter speeds from 1/4000 second to 60 minutes, with flash sync up to 1/125 second and even faster with upcoming leaf shutter lenses. The mirror and viewfinder system is almost three times larger than a 35mm camera, providing unheralded control over focus and composition, and the TTL phase-difference autofocus system provides three focus points. The camera accepts lenses from Phase One, Mamiya AF/AFD and Hasselblad V and the camera is Jerry says the Phase One 645 camera is just as easy to use as a DSLR. “It handles beautifully. When I first held it, and I know this is a bit of a cliché, it really did feel like an extension of my hand. It’s got a beautiful, comfortable grip which for a medium format camera is imperative if it is to be considered as a viable option for wedding photography. And it’s not as heavy as you might imagine it to be.”

The Phase One 645 camera offers shutter speeds from 1/4000 second to 60 minutes, with flash sync up to 1/125 second and even faster with upcoming leaf shutter lenses. The mirror and viewfinder system is almost three times larger than a 35mm camera, providing unheralded control over focus and composition, and the TTL phase-difference autofocus system provides three focus points. The camera accepts lenses from Phase One, Mamiya AF/AFD and Hasselblad V and the camera is robust to handle the rough and tumble of wedding photography. “The focusing on the new camera is a lot quicker than earlier models and it’s nice to have a different format. I mean, I’ve enjoyed shooting the 3:2 ratio format on a DSLR, but to have something closer to the RB67 format I started with is really great. The 4:3 ratio is yet another way I can differentiate what I do.”

Marketing Advantages

However, Jerry’s ideas about formats and style are set to change further still. “It’s pretty easy for anyone to get a good shot out of a compact camera, but to produce medium However, Jerry’s ideas about formats and style are set to change further still. “It’s pretty easy for anyone to get a good shot out of a compact camera, but to produce medium format quality which has a distinct physical presence, whether you’re looking at the camera or the prints it produces, well, that’s really exciting. However, it’s important to educate your clients about what you do. “When we first changed from film to digital, prospective clients would arrive at our studio convinced that film was better, so my solution was to show them comparative prints, one made from a 35mm negative and another made from a DSLR. We enlarged them up to 20×24 inches so they could clearly see the differences and how good digital had become. “This approach was incredibly powerful and now I can just imagine the effect it will have when I compare prints taken with a DSLR and the new Phase One P 40+. For the clients I want to work for, quality is a major USP (unique selling proposition) and showing off the quality of the Phase One P 40+ will be a huge positive.” Since starting his new boutique wedding studio, Jerry is looking to position himself at the pinnacle of the market. He has several approaches in mind.

“My new studio will only show big enlargements, 48×32” and 40×40” prints. Basically if you show big, you sell big, but the photos need to have a ‘wow’ impact so that when you walk into the studio you can’t help but be impressed. Medium format digital will do this. “I also visited an Andy Warhol exhibition in Las Vegas a couple of years ago and was really impressed by his large square prints. Why not bring back the square format for wedding photography as well? All I have to do is drop a mask over the ground glass in the Phase One camera and I can choose to shoot square whenever I wish. “Arguably you can crop a DSLR image square as well, but I love the idea of couples taking home a large art piece, crystal clear and with amazing quality. I don’t see shooting with other cameras as being a negative, rather that medium format is a huge positive, especially if you bring your clients’ attention to the incredible detail and massive dynamic range.” And his clients will notice the difference.

“Increasingly I’m finding that my clients have more experience in photography and really understand what quality is all about. Some are camera enthusiasts and it’s surprising how many read photography magazines or photographers’ blogs on the internet. They know what medium format is all about and will appreciate the differences “I must admit I made the decision to go to medium format as an addition to the camera equipment I’m currently shooting with, not necessarily as a replacement, but the more I play with the Phase One P 40+, the more I can see myself using it for everything.” To see more of Jerry’s work, visit his website at www.jerryghionis.com.

About the photographer

Name : Jerry Ghionis
Web : www.jerryghionis.com

Equipment

Phase One 645 camera
Phase One P 30+ digital back
Phase One P 40+ digital back
Capture One 4 PRO

The P40+ Phase One 645 DF Camera System

A great combination of image quality and speed!

Imagine the image quality shooting with a 12 stop dynamic range at the speed of one frame per second. The perfect combination of quality and speed. The Phase One DF camera system with the P40+ can sync to 1/1600 sec. Contact Chris Benes at 310-253-9008 ext 154 or use our contact form to sign up for a demonstration or to tell us about your specific needs.

Contact

June 3, 2010 — Category: Phase One Testimonials

Meet the Achromatic+

The growing demise of traditional photographic film has even affected the scientific community. Many specialty scientific films are no longer available or are becoming increasingly difficult to acquire. This includes infrared and other scientific films that are sensitive to specific nanometer ranges in both the visible and invisible spectrums.

A New Scientific, Industrial and Photographic tool

Walter Borchenko

Establishing a partnership

The growing demise of traditional photographic film has even affected the scientific community. Many specialty scientific films are no longer available or are becoming increasingly difficult to acquire. This includes infrared and other scientific films that are sensitive to specific nanometer ranges in both the visible and invisible spectrums. Dealing with the chemical processes that film requires has also become increasingly difficult in the workplace.

Recognizing that these scientific requirements are becoming more difficult to deliver, Jim Taskett and Karla Johnson of Bear Images Photographic Inc., in San Francisco decided to do something about the problem. Jim put together a research consortium including both US Government and private companies and not-for -profits, all focused on finding a digital capture solution to replace scientific film and traditional processes. A 5000 square foot research center was established in 2007 in Palo Alto California to focus on workflow, technology evaluation and deployment.

The research team assessed available technologies and decided to approach Phase One to help develop and build a digital solution. As Jim Taskett explains, Phase One was a natural choice as a development partner.

“There is no question that Phase One engineering has achieved many digital capture milestones. Time and again over the last 10 years, Phase One has provided the best possible image quality from any give sensor size available at the time. The design of the Phase One backs is an industrial marvel being virtually indestructible in a traditional photographic environment. The robust design can withstand tons of weight, extreme temperature of heat and cold as well as the rigors of extreme acceleration. The backs are engineered to capture millions of images without failures. These are all traits that are required for an industrial solution.

Unfortunately, that’s not enough! Our initial project scope suggested that there would be numerous technical challenges in developing this device. Phase One maintains an extensive research team that is continuously working on new technology. Having access to the Phase One R&D team proved to be of significant benefit to our project. The availability of software that could also operate the back was the final factor in selecting Phase One to assist us in developing and building the Achromatic+ back.”

The research teams prediction of technical challenges proved to be more than true. The Achromatic+ back has taken over 2 years to develop, manufacture and deliver. The goal has been achieved. The Achromatic+ is the first commercially available medium format back that is a true replacement for almost all scientific black and white film types at much higher quality and with far more consistency.

The Achromatic+ back

The Achromatic+ is a 39 megapixel medium format digital camera back that provides wide spectrum black and white images, at an unprecedented level of accuracy. To take advantage of existing proven technology, the design is based on Phase One’s latest P+ chassis and platform. Backs are available for the Phase One / Mamiya mount, Contax, Hasselblad V-series and Hasselblad H-series mounts. Numerous off the shelf and custom adapters are available for mounting on technical or view cameras, other medium format platforms and scientific equipment. Custom capture software is available to aid scientific imaging specialists.

The Achromatic+ raw files are compatible with Phase One’s Capture One software. This utilizes all of the existing workflow and tools that are part of the Capture One solution for both Mac and PC.

The Achromatic+ results go far beyond the accuracy possible with film. There are two key reasons for the high level of accuracy, no RGB filters on the sensor and the variables of film and processing. Variables like chemical processing; building emulsions, film storage and latent image stability have significantly varied the accuracy of film. The range of specific film emulsions is fairly limited requiring a wide range of film products. In comparison, the range of sensitivity with the Achromatic+ back extends beyond the visible spectrum into the infrared wavelengths in a single product. Filters are used to limit the Achromatic+ back to specific bandwidths required for scientific study and process control.

The Achromatic+ is built with hand picked sensors that are at the top of the quality range for consistency and accuracy. This reduces the effect of extensive correction for sensor defects. The selected sensors are removed from the manufacturing process before the RGB filters are applied to the pixels. This gives the Achromatic+ back the unique ability to record pure black and white data with extreme accuracy.

Filters on the sensor pixels and a UV cutoff filter over the whole sensor limit sensitivity to the visible spectrum.
Each pixel site requires a color filter to create final images in color. This adds to the thickness of a sensor creating optical changes reducing sharpness and adding artifacts.
The range of sensitivity of a regular RGB sensor including an IR cut-off filter is from 350 to 700 nanometers (nm). Image courtesy of Eastman Kodak Company

Quantum efficiency for color image sensor in some Phase One P+ backs

The removal of all filters on the pixels as well as the removal of the IR cut-off filter expands the sensitivity beyond the visible spectrum, to include infrared and ultraviolet.
The Achromatic sensor has no filters on the pixel sites. This design provides the truest possible data with sharper images and virtually no artifacts.

Image courtesy of Eastman Kodak Company

Quantum efficiency for image sensor in Achromatic + back

Traditionally, all sensors have a Bayer pattern of individual red, green and blue filters on each pixel site. These individual colors are then interpolated through numerous methods to create RGB data at each photo-site. The Achromatic+ back is designed to be a black and white only product with no color filters on the sensor.

The back is supplied in two different configurations. The first configuration includes a permanently mounted IR cut-off filter that is required to allow the sensor record the human visible spectrum. The second version is supplied with no IR cut-off filter and is therefore capable of recording into the visible as well as the infrared and ultraviolet parts of the spectrum.

The back is built using Phase Ones latest P+ chassis and platform. Mounts are available for the Phase One / Mamiya, Contax, Hasselblad V-series and Hasselblad H-series medium format solutions. Numerous adapters are available for mounting on technical or view cameras, other medium format platforms and scientific equipment with custom and industry standard adapters. Custom capture software is available to aid scientific imaging specialists.

Achromatic+ raw files are compatible with Phase One’s Capture One software. This utilizes all of the existing workflow and tools that are part of the Capture One solution for both Mac and PC.

A few Achromatic+ applications

For Scientific purposes, filters are used to restrict the captures to specific wavelengths thereby recording specific information. The use of filters to record the restricted wavelengths also have the safety advantage of allowing researchers to work in full spectrum light. With Infrared film, all visible light had to be removed and the film was extremely difficult to handle and work with. The Achromatic+ back can record infrared in regular daylight or existing light because the optical filters, not the capture medium, defines the range of electro magnetic spectrum recorded.

Aerial, Biomedical, Agricultural Research

In the medical and agricultural segments, organic specimens can be either designed to reflect a specific spectrum or may reflect differently depending on age or growth condition. All of these aspects can be documented with the Achromatic + back. Accuracy of information is much higher than film based solutions because the variables of emulsion manufacturing and chemical processing are removed.

B&W reproduction

The process of reproducing original black and white prints is extremely difficult with a full color process. The Achromatic + back can reproduce original black and white with extreme accuracy that requires little or no post-production retouching. The lack of filters on the sensor also provides the advantage of higher resolution. To take advantage of the extra resolving power, high-resolution lenses are required. Reproduction lenses are typically higher resolution thereby allowing the Achromatic+ back to provide the best quality possible. Improved optical performance can be achieved with select spectrum illumination systems, which have been developed for use with this imaging device.

Restoring original film footage

The extreme resolution capabilities combined with the accuracy and simplicity of capture makes the Achromatic+ an outstanding solution for restoring original black and white film footage. The added benefit of Phase One’s robust back design makes the multiple millions of exposures required to restore film footage, easier to achieve.

Optical research and quality control

A unique pattern is created when lasers are used to test optical elements, mirrors and assemblies. The Achromatic+ back can be used with a filter to record the specific patterns and confirm the quality of the item. More importantly, current film solutions require this work to be done in a total darkness. The Achromatic+ back can achieve the same results in conventional work areas.

Forensic, Photogrammetry and Military Applications

Information is a critical aspect of military research and in-field situations. The Achromatic+ back through filtration can be tuned to pick out very specific information of a location or an event like an explosion or gun powder residue patterns. Detailed information about specific events is critical in analyzing the effectiveness of the particular device or event being analyzed.

Photography

The Achromatic+ can be filtered for the visible spectrum. This creates the most accurate black and white response we have ever achieved. Black and white filters provide the exact response expected and achieve exactly the same result that would be achieved with film. Using and IR filter, the Achromatic + achieves true IR images that even require a focus adjustment, just like using IR film. The consistency achieved is unprecedented since the response and result is virtually identical each time. With IR film, the emulsion coating process, special film handling, storage and chemical processing after exposure adds variables to the process and thus less controllable results.

Possibly the most unusual and most inspirational value of the Achromatic+ back photographically, is the ability to shoot with no filters and record IR and visible spectrum down to UV. The images are almost impossible to describe and truly exciting for Fine-Art Photographers exploring a new way to capture visually intriguing images.

Conclusions

The Achromatic+ back represents a whole new aspect of digital capture for both the scientific community and photographers. The extreme ability to create repeatable accurate results supersedes the abilities of traditional film. For research, scientific study and testing, the value of this accuracy is immeasurable. The reduction in availability of research and scientific film emulsions, as well as the safety and difficulty of processing many of these films, further enhances the value of the Achromatic + back.

For the photographic community, the Achromatic+ back is a new frontier that is yet to be discovered. The ability to record beyond, and including the visible spectrum, offers significant opportunity for exploration. Although the price will be restrictive for many, there is no doubt that artists will find a way to access the Achromatic + back and redefine the limits of black & white and much more.

Resources

Achromatic + website – Achromatic official website

Achromatic+ backs are distributed internationally and sold in the US by Bear Images visit Bear Images

Additional dealers are being established internationally. Contact details:

Jim Taskett
Bear Images Photographic, Inc.
417 Lambert Avenue
Palo Alto, California 94306
+1 650-321-2327 googlevoice: +1 650-395-7315

Luminous Landscape article link – Article by Michael Reichmann with additional comments by Photographer Mark Dubovoy and Phase One R&D VP Claus Mølgaard

Capture-U – blog link – The experience of working with the Achromatic + back without any filtration – by Walter Borchenko.

June 3, 2010 — Category: Phase One Testimonials

The Sky’s the Limit

The only way is up for the Sky Factory as they explain how their innovative products combine creative photography in a commercial environment – with a little help from Phase One.

“The P 65+ is providing resolution that is exceeding some of the older 4×5 that we have”

Michael Roscoe

Getting a blend of creative photography with a true business context can be a difficult balance for any photographer to find. In addition the Sky Factory is a company that provides a product that genuinely helps comfort people when they can feel at their most vulnerable. The success of this company is based on sound principles.

Artist and entrepreneur Bill Witherspoon founded Sky Factory about six years ago. Its premise, put simply by the Company, is that they create ‘authentic illusions of nature’. They have a number of products in their range but the original and biggest seller is the Luminous SkyCeiling™. As the name suggests, the SkyCeiling is a virtual skylight that delivers more benefits than just its obvious aesthetic qualities. These suspended ceilings are made up of a number of 2×2ft translucent acrylic panels that feature backlit images of skies, clouds, and sometimes surrounding foliage. They have proved most popular in the Healthcare Industry where they are commonly installed in places such as radiology suites and over patient beds. “There is a convincing body of research that supports the use of nature images in healthcare settings for their stress relieving and healing benefits. People feel more relaxed, heal more quickly and use less pain medication when nature views or simulated nature scenes are available,” explains Company representative Mark Petrick.

Mark is one of the Sky Factory team that includes founder Bill Witherspoon, Radim Schreiber, Mark Novak, and John Barker, who photograph the sky images used in the SkyCeilings, and landscapes used in the Luminous Virtual Windows™ product for walls . He explains the company strategy for capturing imagery as “aesthetic principles that guide us to create very realistic images with great fidelity, color, and correct perspective so that when someone is under one of our SkyCeilings and they look up, it’s as authentic an experience of nature as possible”.

In the past, the Sky Factory images were captured using field view cameras with a medium format film back and then progressed to shooting 4×5” format film as their clients wanted larger SkyCeilings – some up to 90ft long – needing better quality images. This conventional approach, using film, had its problems as Mark recalls, “Shooting large format in the field and trying to generate the amount of images we needed wasn’t the most efficient route to take, so we were always watching digital and thinking when is digital going to hit a quality that is equal to 4×5”… then P 65+ came out”.

Reach for the Sky

The Sky Factory team tested the Phase One 645 camera, the P 65+ digital back and lens options and, within days of ordering the gear, tried out its capabilities on a two-week trip to Oregon. Excursions such as this one to update their image library happen at least twice a year, to enable the team to add hundreds of photographs of areas of natural beauty such as Steens Mountains in the American North West. Their approach to attaining images that they can utilize on the ceilings means they try to get the perspective appearing as normal as possible, so they typically use an 80mm lens or swap to a 45mm to get more coverage. “We try to create images that don’t look photographic – We avoid telltale signs of photographic distortion,” Mark clarifies and explains that they are experimenting with increasing depth of field by using multiple exposures to replicate an authentic viewing experience, “the eye is in focus wherever it’s looking, so it’s better if our images are in focus everywhere”.

This real life field-test to the desert and tall mountain ranges of Oregon reaped rich rewards in skyscapes and landscape images. One of the main difficulties when photographing the sky is trying to accurately capture and reproduce the shadow, highlight and wide tonal range, but Mark’s verdict is conclusive, “Our feeling is that the P 65+ is providing resolution that is exceeding some of the older 4×5 that we have, but the [12.5 f-stops] wider dynamic range surpasses film, and that is a huge benefit”.

The Sky Factory team also noted some other benefits of shooting digitally. “The kit is now very portable, so travelling to remote locales and other countries and shooting trees that aren’t North American is something we’re getting into.” Handling also gets the thumbs up, as it is not only smaller than a large format camera, “It’s weighted and balanced nicely. It’s a simple camera, which is another thing I love about it. It’s like shooting with an old manual camera even though you’ve got this amazing technology strapped to the back of it”.

Whilst on location, the team shoots directly to a CompactFlash card and downloads in the evening to a MacBook Pro laptop. Postproduction starts with the Capture One software where images are converted from RAW format, and finished off and blended together in Photoshop.

Real Reactions

The proof of success, once a SkyCeiling is installed, can be measured in a number of ways but the reaction can be startling in Mark’s experience, “It’s not unusual for people to walk into one of these spaces and ask, ‘How did you get a skylight in here?’ They simply don’t realize that it’s not a real skylight… it’s also common for people to say ‘Oh, are the clouds moving?’ even though they’re not, the realistic images trigger our memories of the sky’s natural changes”.

But the real benefit, particularly to a hospital patient, can work on a deeper subconscious level even after they recognize that it is not a real sky according to the Company’s research. “What we’re trying to do is create compelling illusions of nature. If the authenticity of the display tricks the mind and body then it promotes the same kinds of psychological and physiological reactions to the illusion as we’d have to the actual experience”. Mark states that the success of this depends on realism, so accurate colour, detail, and resolution of the sky image ceilings is vital, which is why they’ve invested in the Phase One system. Get these elements correct and the effects can be astonishing and produce a genuine ‘relaxation response’ where physiological measures such as blood pressure, heart and breathing rate purportedly improve, which is especially beneficial during stressful hospital procedures.

The importance of the Sky Factory image collection is a cornerstone of the Company’s competitive edge and future success. All the photographs are shot by the in-house team and are exclusively used by the Company. “It’s our intellectual property. We don’t license them, they’re just for us. This is another reason why we’re excited about using the Phase One because our competition isn’t going to do this. We know what their level of commitment is. Phase One is definitely a quality differentiator for us.”

About Sky Factory

“The Sky Factory is a unique business that develops realistic illusions of sky for interior spaces. In the past several years these illusions, called SkyCeilings™, have been installed in thousands of ceilings worldwide: healthcare, commercial, hospitality, and now, increasingly in private homes.”

Learn more on Sky Factory

http://www.skyfactory.com/

Equipment:

Phase One Digital Back P 65+

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June 3, 2010 — Category: Phase One Testimonials

Digital Fusion News

What objects do still life photographers really cover? Perhaps a product that combines quality, practicality and speed like a P 65+. Is this the key to catching the eye of someone like Mario Corsini?

One Shot Wonder

Photo Armory

Software solution

Equipment Used:

Your P65+ Medium Format Digital System

In Max Sarotto‘s world there is no room for compromise. He works with the World’s most powerful automobiles and for him there is only one photographic solution up to the job. Phase One goes behind the scenes on his latest shoot.

Max Power

Lights, camera, action…

Performance and reliability

Phase One P65+ 645 DF Camera System

Photographer Adrian Weinbrecht puts his Phase One medium format digital backs, the Phase One P 30+ and P 45+ to work and realizes his dynamic vision.

Meet dance photographer Adrian Weinbrecht

Insight

The Dancer

Lake Thun

A Matter of Multiples

Are you ready to step up!!

In this tricky economic climate, photographers are hedging their bets on where to invest their cash. But Michael Roscoe finds out that the smart money is on Phase One as he talks to award winning nature photographer Jan Töve.

Jan Töve; Natural Selection

Michael Roscoe October 5, 2009

Digital workhorse

Easy upgrade

Your Easy Upgrade

Phase One has an very generous upgrade program.

About the photographer

In January, Michael Reichmann of The Luminous Landscape, led an expedition of 77 photographers and instructors to the Antarctic. Phase One tested the brand new P 65+ under these harsh conditions, – Walter Borchenko talked to 4 of the photographers after returning….

Antarctica with the P 65+, Why upgrade?

Walter Borchenko October 5, 2009

Mark Dubovoy

Paul Tornaquindici

Paul Indman

Christopher Hauser

Your P65+ Upgrade:

Phase One has an very generous upgrade program.

Jerry Ghionis familiarises himself with the Phase One P 40+ back in preparation for a busy Australian wedding season.

Step One For Medium Format Weddings

Peter Eastway October 6, 2009

Seeing is believing

Handheld

Sensor+

About the photographer

Equipment

Your P40+ Phase One System

Peter Eastway interviews Jerry Ghionis about his move from DSLR to medium format digital and what it means for his wedding and portrait photography.

Turning Medium Format

Stepping Up

Camera Ergonomics

Marketing Advantages

About the photographer

Equipment

The P40+ Phase One 645 DF Camera System

A New Scientific, Industrial and Photographic tool

Walter Borchenko

Establishing a partnership

The Achromatic+ back

Quantum efficiency for color image sensor in some Phase One P+ backs

Quantum efficiency for image sensor in Achromatic + back

A few Achromatic+ applications

Aerial, Biomedical, Agricultural Research

B&W reproduction

Restoring original film footage

Optical research and quality control

Forensic, Photogrammetry and Military Applications

Photography

Conclusions

Resources

The only way is up for the Sky Factory as they explain how their innovative products combine creative photography in a commercial environment – with a little help from Phase One.

“The P 65+ is providing resolution that is exceeding some of the older 4×5 that we have”

Michael Roscoe

Reach for the Sky

Real Reactions

About Sky Factory

Your P65+ Upgrade

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