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Photographer Tim Kemple on the New Phase One IQ250 (And Comparison to D800)

Chris Gampat
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01/24/2014
2 Mins read

Phase One IQ250

Photographer Tim Kemple is no stranger to the Phoblographer. We’ve interviewed him before about his work in the great outdoors and his photography in general. But when we heard that he got to play with the new back, we were extremely curious to talk to him about it.

Not only was he able to tell us a bit more about the experience, but he was kind enough to provide crop examples of the new back against the Nikon D800.

Phoblographer: Obviously the big new feature of the back is the new CMOS sensor, which performs better at high ISOs. What are your findings of the images so far vs conventional DSLR cameras?

Tim: Yeah, the CMOS sensor all around which means awesome high ISO images, super long exposure and a real live view.

To me the only camera you can compare it to in terms of high resolution and dynamic range is the D800. For me that camera is the top of heap in the DSLR world for a variety of reasons (READ RESOLUTON AND DYNAMIC RANGE) and in my real world comparisons the IQ250 is noticeably better at all ISOs. If I would have to guess I’d say a stop at 6400 with less pixel noise, and much less broad band noise. Don’t get me wrong, there is still noise as you crank the ISO its just less than I’m used to seeing AND the image as whole still maintains a pleasant feel — rather than getting muddy/getting noise blotching.

Phoblographer: Tell us about what you think about shooting with it so far.

Tim: Its pretty much like driving a super car. I mean it does one thing, and one thing really well — it captures the best images possible. It doesn’t have AC. It doesn’t have a radioâ€ĤBut as a professional photographer it will become my go to camera.

D800 6400 crop
D800 6400 crop
iq250 6400 crop
iq250 6400 crop

 

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cmos sensor comparison d800 high iso iq250 nikon phase one photographer Tim Kemple
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Chris Gampat is the Editor in Chief, Founder, and Publisher of the Phoblographer. He provides oversight to all of the daily tasks, including editorial, administrative, and advertising work. Chris's editorial work includes not only editing and scheduling articles but also writing them himself. He's the author of various product guides, educational pieces, product reviews, and interviews with photographers. He's fascinated by how photographers create, considering the fact that he's legally blind./ HIGHLIGHTS: Chris used to work in Men's lifestyle and tech. He's a veteran technology writer, editor, and reviewer with more than 15 years experience. He's also a Photographer that has had his share of bylines and viral projects like "Secret Order of the Slice." PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. EXPERIENCE: Chris Gampat began working in tech and art journalism both in 2008. He started at PCMag, Magnum Photos, and Geek.com. He founded the Phoblographer in 2009 after working at places like PDN and Photography Bay. He left his day job as the Social Media Content Developer at B&H Photo in the early 2010s. Since then, he's evolved as a publisher using AI ethically, coming up with ethical ways to bring in affiliate income, and preaching the word of diversity in the photo industry. His background and work has spread to non-profits like American Photographic Arts where he's done work to get photographers various benefits. His skills are in SEO, app development, content planning, ethics management, photography, Wordpress, and other things. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. FAVORITE SUBJECT TO PHOTOGRAPH: Chris enjoys creating conceptual work that makes people stare at his photos. But he doesn't get to do much of this because of the high demand of photography content. / BEST PHOTOGRAPHY TIP: Don't do it in post-production when you can do it in-camera.
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