If you’re a photographer who has thought about getting into the medium format world, then congratulations: you’re ready to step up into the next level of creating better portraits. You see, medium format photography often forces photographers to think in a different way simply because the format is so much larger than traditional digital and film photography formats. Artistically speaking things can change. But more importantly, things change technically.
So previously we have talked about some great budget medium format film camera options for those on a budget, but all of those cameras were manual focus only. Today we wanted to bring a few options into focus that feature something that many of you can’t live without – Autofocus.
There are a few things about AF with these cameras that needs to be said. It’s not lightning fast, but it is pretty accurate. Just don’t expect to get the sort of AF performance that you get these days, these camera are decades old after all, AF technology has advanced quite a bit. That said, if you manage your expectations, you should have no problem getting great AF results using these cameras. Continue reading…
Today, Fujifilm is announcing brand new additions to the G format lineup of lenses. These lenses are designed for medium format cameras such as the GFX 50s. The new lenses are the 110mm f2 R LM WR and the 23mm f4 R LM WR. In addition to that, there’s new firmware coming. All the details that you need to know are after the jump.
The Fujifilm GFX 50S has been in for review for a few days now and I’m sort of wrapping my head around how to test it correctly. That’s kind of tough to explain for many reasons. You see, Fujifilm sent me the camera along with the 63mm f2.8 and the 120mm f4 lenses–both primes which are great for general work, portraiture, and the mainstay of most medium format photographers out there. Zooms are often tough to work with, but in some ways I feel like Fujifilm is genuinely trying to redefine the way people work with medium format cameras, lenses, and sensors.
All images by Levi Wedel. Used with a Creative Commons permission.
There are more than enough films out there that use and envision a near apocalyptic future, but perhaps none really capture it like Levi Wedel’s Invisible City. Levi hails from Alberta, Canada and the Invisible City project is a number of photos taken at night on medium format film. The scenes depicted are devoid of people–and when you look through the images it’s really easy to feel as if you’re completely alone in the scene. This sense of being alone leads to an eerie uneasiness that someone or something may pop out and get you; and that something is creeping in the darkness.
When I first got started in medium format film photography, I found it pretty confusing. But I, like many of you, was basing it off of the digital photography formats available. This can get even more confusing for digital photographers getting into film. So we’ve got a tutorial video that should sort it out.
And don’t worry, it’s actually all fairly simple.
Medium format cameras are so incredibly expensive though they’re surely starting to come down in price. For many, they’re considered the pinnacle of making it as a professional photographer. Despite these incredibly high price points, you’d be shocked at what you’re getting. Granted, you’re buying into a system with a much larger sensor and then theoretically better image quality overall. Plus you get to work with better lenses and have the best in support when it comes to shooting tethered. But otherwise, that’s really about it.
Years and years ago, Kodak announced something that would endure for quite a while: Kodak Portra 400. Available in the 120, 35mm, and large formats, the film was and still is incredibly popular with photographers who like shooting portraits. It’s highly valued for its muted tones–which tends to go against much of what digital photography seems to offer straight out of the camera. However, Portra is in use for much more than just this. Lots of photographers use it as their every day film because they just like it. But this tends to be more the thought process of those that shoot 35mm. At 120, you’re getting far less shots per roll and often work to get the best photos you can in one single shot due to higher stakes–even more so than with 35mm.