PhaseOne announces new digital back - P40+

Phase One Launches P 40+ with Sensor+
Medium format camera quality plus hand-held flexibility in one system

COPENHAGEN, April 30, 2009 -- Phase One, the leader in open-platform based medium format camera systems and solutions, today announced immediate availability of the Phase One P40+ -- the company’s second Sensor+ enabled digital camera back/camera system.

Like the P 65+ introduced last year, this new system offers two separate image-capture modes. In normal mode, the P 40+ delivers full 40 megapixel captures for high-quality image details. And when shooting conditions demand, a photographer can push a button and instantly switch from 40 megapixels to 10 megapixels, gaining a four-fold increase in light sensitivity (ISO to 3200), and a capture rate of up to 1.8 frames per second --an ideal performance for hand-held and/or low-light conditions.

“Our second Sensor+ enabled system has been designed to deliver the fastest capture rate of any high-end medium format camera system on the market today,” said Jan H. Christiansen, marketing director for Phase One. “Our relentless innovation is inspired by the needs of quality-conscious professional photographers who seek flexible and reliable camera systems that can work as hard as they do.”

The versatility of the P 40+ system is important for those who seek quality medium format 16-bit capture under a variety of working conditions. Both modes feature a 12.5 f-stop dynamic range. From high-end wedding, fashion and fine-art photographers to photojournalists, the choice of capture modes in a single camera system frees photographers to focus on the job at hand rather than worry over equipment. Best results of Sensor+ technology are available by processing images using Phase One Capture One software version 4.8 or higher.

Technical specifications:
P 40+ full resolution capture mode:
Resolution: 40 megapixels
Pixel size: 6 x 6 micron
RAW file compression:
IIQ large: 40 MB
IIQ small: 26 MB
ISO: 50, 100, 200, 400, 800
Capture rate: Up to 1.2 frames per second


P 40+ Sensor+ capture mode:
Resolution: 10 megapixels
Pixel size: 12 x 12 micron
RAW file compression:
IIQ large: 10 MB
IIQ small: 7 MB
ISO: 200, 400, 800, 1600, 3200

Capture rate: up to 1.8 frames per second

Phase One P+ camera back mounts:
Phase One 645 AF, Mamiya 645AFDII/ AFDIII, Mamiya RZ67 PRO IID via adaptor, Hasselblad H1 and H2, Hasselblad 555ELD, 553ELX, 503CW and 501CM, Contax 645.

Wide angle & technical cameras: 4 x 5” via FlexAdaptor: Arca Swiss, Cambo, Linhof, Toyo, Sinar, Plaubel, Horseman.

Pricing & Availability
The P 40+ digital back starts at €14,990; the P 40+ camera system starts at €16,990.

All products are available now.

More information
For full technical specs, please read more here: www.phaseone.com/p40. For pricing and more information please contact a local Phase One dealer: http://www.phaseone.com/Content/ContactUs/LocateDealer.aspx

About Phase One
Phase One is a leading provider of digital image capture and work flow management technology. Phase One 645 Camera Systems and P+ digital backs open new possibilities, putting the focus back on the moment of capture. Phase One Capture One software helps streamline the capture and post-production process. Supporting DSLR, medium- and large format photographic equipment, Phase One products are renowned for their superior quality, flexibility and speed — enabling pro photographers to realize their most subtle and most complex visions without compromise.

Phase One is an employee-owned company based in Copenhagen with offices in New York, London, Tokyo, Cologne and Shanghai. For more information please, visit the Phase One web site on www.phaseone.com.

Phase One and Capture One are registered trademarks of Phase One A/S. All other brand or product names are trademarks or registered trademarks of their respective holders.

An Afternoon with Hasselblad & DTG

After reading my previous blog entry “A Morning with Capture Integration”, the folks at Digital Technology Group (DTG) invited me to their suite at the Graphics of the Americas expo held in Miami Beach for some “hands-on” time with the Hasselblad H-System. DTG is based out of Tampa, FL and is the local Hasselblad (and Alpa) dealer (among many other things) here in Florida. That is saying a lot. Florida is the 4th largest state in the USA and Miami-Dade County is twice the size of the state of Rhode Island all by itself. It’s a big area to cover and I appreciate their inviting me over. I have previously spoken about the Hasselblad H-System, but this was my first “hands-on” session that wasn’t rushed by a crowd of slavering photogs hoping to get a chance to fondle $30K worth of camera. Just me (and Jordan Miller from DTG and Greg Hollmann and Gina Connor from Hasselblad USA) and the H-System for two hours.

Impressions Most digital medium format systems are generally larger/heavier than 35mm digital counterparts. At first blush I would have said the same thing about the H-System and the H3DII in particular. Metal barrelled lenses, a hefty looking camera body with a large viewfinder and digital back all add up to weight. In my hand, however, the H3DII balanced perfectly. Granted, if I slapped on the largest zoom they brought it felt a bit more cumbersome, but it was no worse than my D700 + MB-D10 Grip + 70-200 VR lens. In fact, the H3DII was actually shorter and easier to handle that my Nikon due to the design of the grip which places the hand fairly close to the center of balance on the system, even with a zoom mounted.

Even though some folks complain about the H3 being a “closed system” (only Hassy H3 parts/lenses can be used in the system), I don’t view this as a bad thing. Heck, this formula has been working for Apple for years. As I have said before, this is the “Macintosh of Medium Format.” I also checked with Jordan and he confirmed that the H3 digital backs are compatible with Alpa Technical Cameras. The only gotcha here is that the H3 back is powered by the H3 body so you would have to purchase the optional ImageBank or tether the back via Firewire to you Mac/PC in order to power it. On the plus side, you don’t have to use a wakeup cable with the H3 backs like you do with the Phase-One backs.

Alpa TC + Hasselblad 39 Mpx Digital Back courtesy of Dr. Bob Moore The Hasselblad system allows an unprecedented level of integration between components. I should point out that the term “unprecedented” applies to the medium format realm. This sort of thing has been the norm in 35mm DSLRs for years now. Chipped lenses passing image telemetry back to the sensor is currently in it’s first generation in medium format world. Upcoming systems, like Leica’s S2, promise even tighter integration between components. So what does this mean image-wise? Chipped lenses can pass critical distance information along with any kind of optical correction info back to the sensor. I imagine that in future versions of the lenses, factory testing will load sample specific optical correction data into the lens’ chipset allowing the camera to apply adjustments specific to the lens being used, not just generic corrections for the entire lens series. Hasselblad digital backs only record images in their native RAW format. No other format option is available. The only software package that can process those images is Hasselblad’s Phocus software for Mac/PC (sorry Linux crowd). This would be a problem if Phocus sucked, but fortunately Hasselblad but just as much time and effort into the software as they did to the hardware/firmware.

Phocus is a full on 64-bit multi-core aware image processing application. Considering that is has to cope with hundreds (if not thousands) of images starting at 31 megapixels all the way up to 50 megapixels (and very shortly, 60 megapixels), Phocus is designed to handle large amounts of big images. Also keep in mind that most, if not all, medium format digital backs record in 16-bits per color channel (that’s 64K shades of RGB = 28 trillion colors). [EDITOR'S NOTE: Apple Aperture 2 does read 3FR files from the H3D & H3DII-31. DAC information is not used by Aperture but all other data is. Hopefully Apple will add support for all Hasselblad H Digital Backs in the near future.] DTG was kind enough to provide me access to Phocus and some sample images to work with. The cameras used for comparison are: Hasselblad H3DII-50

100mm f/2.2 lens (roughly 50mm equivalent)

ISO 50 (lowest possible setting)

Shot native format (3FR) and converted using minimal adjustments.

vs. Nikon D700 (12 Mpx)

CV 58mm f/1.4 lens (The Nikon D700 is a full frame camera)

ISO 200 (lowest setting)

Shot native format (NEF) and converted using minimal adjustments.

These two tiny jpegs (Hasselblad on the right, Nikon on the left) do not do either of these cameras justice. To truly appreciate the images one must see them in full size. Here are links to the full-sized images: Nikon image Hasselblad image Remember, these are 24-bit jpegs (8-bits per channel) and as such have lost a lot of the color information captured by both cameras. The Nikon normally captures 12-bits/channel and can be pushed to 14-bits. As mentioned before, the Hasselblad captures at 16-bits/channel. And just in case you are thinking that 2-4 bits difference is no big deal, every bit doubles the number of colors captured by the sensor. Hasselblad employs a central leaf shutter system which gives the H-System flash compatibility at all shutter speeds with the drawback that the system is limited to a max shutter speed of 1/800s which is not a big deal in the studio, but may require use of neutral density filters if used wide open for landscapes. This is not a sports camera. Conclusion The Hasselblad H-System is a solid piece of engineering. Well-balanced and built like a tank, it provides the photographer (who can afford it) a truly spectacular tool for capturing images. Hasselblad’s system approach is a love/hate kind of thing. If you love that kind environment, then this is the camera for you. If you’ve got a bit of William Wallace in you, you may want to look at a more flexible system. I am not saying that the H-System is limiting in any way. There are plenty of choices and third party gear that can be used with the H-System, just not as many as everybody else. The files produced by the H-System contain a staggering amount of image information and detail. So much so that portrait work may require A) a softening of the subject in order to hide skin imperfections or B) the hiring of a really, really good makeup artist (probably both.) If you like the way Apple Inc. builds computers, you’ll fall for the Hasselblad approach. I know I want one.

While I'm on the subject of technical cameras...

I would be remiss if I failed to talk about other medium format systems that offer an extensive solution for landscape and architectural photography. Case in point: Hasselblad. Long time purveyor of medium format cameras, Hasselblad has gone digital in a very big way. Their H-System is currently on its fifth generation with the H3D-II, and with it Hasselblad has decided to take a systems approach to medium format. Think of them as the Apple of medium format.

The H-System also include a set of matched lenses that, like lenses on 35mm systems, transmit a wealth of information back to the camera for use in adjusting and correcting the image in post production. There are 5 HC/HCD lenses available currently ranging from HCD 28mm (equivalent to 14mm in 35mm format) to the HC 100mm.

So how is this a technical camera, there are no tilt/shift lenses?

Funny you should ask. Hasselblad elected to create an accessory that converts all five HC/HCD lenses into tilt/shift lenses: the HTS 1.5. So in one fell swoop, Hasselblad has trumped the other general purpose medium format camera makers by introducing five tilt/shift lenses.

Front of the HTS 1.5

Rear of the HTS 1.5

As you can see above, the HTS has passthrough contacts that allow the full functionality of the HC/HCD lenses to be maintained. This is vitally important as the shutter on a Hasselblad H-System camera is located in the lenses. This also means that autofocus and data reporting to the camera is also maintained. This is huge. To my knowledge, this is a Hasselblad exclusive.

Now that I have you salivating over this comes the reality check. The price of admission to this gear is very high. Hasselblad has a special promotion going on now until March 31, 2009 for architectural and landscape photographers: A Pro Kit that includes the following:

• Hasselblad H3DII-50 camera w/viewfinder
• HCD 28mm f/4 lens
• HTS 1.5 Tilt/Shift Adapter
• Hasselblad GIL GPS Unit
• HVM waist level finder (free with registration)
• Pelican 1510 Mobile Gear Case (free with registration)

All this can be yours for a mere $36,164 USD.

Ouch.

Considering the images I have seen these systems produce, if you can get the customers, the kit is worth the price. Add this one to my wish list too.

PhotoPlus Expo 2008 – Day One

The PhotoPlus Expo opened today in New York City. Hot on the heels of Photokina 2008, PDN’s PhotoPlus Expo brings new cameras, lenses and other goodies introduced in Germany a couple of weeks ago. Greeting visitors at the entrance was Nikon’s rather large booth.

Featuring a complete collection of Nikon’s cameras and lenses, visitors were allowed to mount and test any one they wanted even on their own cameras.

The Coolpix section featured every model currently available including the P6000 top end point and shoot model. This model features RAW capture and built-in GPS for easy geo-tagging of images.

Also present was a display sampling a cross-section of bling-bling add ons available for the Coolpix lines. This is a prime example of the ubiquity of point and shoot cameras as they have achieved a critical mass that is able to support this kind of secondary market.

Asking around the Nikon booth for any news on the rumored MX platform get me a lot of shifty looks and expressions of discomfort (PR people love to talk incessantly about their products. Restricting them from doing so causes them to go against their basic nature.), leading me to believe there is more than rumor working here.

Moving over to the Mamiya booth, I got a chance to play with their recently announced DL28 camera system. This system is actually a Mamiya AFD III medium format camera body, a Mamiya 80mm prime lens, and a Leaf Aptus II-6 28 megapixel digital back. The really innovative part of this system is it’s price: $14,999 USD which is a new low for this class of photographic equipment. One of the Mamiya reps told me that at this price point, Mamiya is giving you the camera for free and the digital back at a 33% discount.

Another slick feature of the Leaf back used in the DL28 system is the ability to display images wirelessly on an Apple iPhone. The camera has to be tethered to a computer running Leaf Capture software in order to transmit the images wirelessly.

One of the technologies being considered by Mamiya is the use of Wireless USB in the future to allow wireless tethered operation. This, of course, will require the widespread adoption of Wireless USB in order to work, so that’s still a couple of years off.

The Epson booth had all of their pro printers on display ranging from the highly affordable R1900 to the immense R11880. The R3800 is the only member of the family that has not been upgraded to the Extreme HDR inkset (the one with Vivid Magenta), but I have been told that you can’t really notice the difference. The R3800 is still the only printer in the Pro line that auto-switches between matte and photo blacks.

The R4880 was on display right next to the R3800 and the size difference is staggering. If you buy one of these beasts, make sure you buy the stand or get yourself a really large, sturdy table. As mentioned before the R4880 has to be manually switched between matte and photo black inks.

Over at the Olympus booth, the Micro Four Thirds prototype was on display under glass in all it’s retro glory. I’m guessing we’ll see more announcements at PMA 2009

Also on display are all of Olympus’ current offering including the miniscule E-420. When mated with the 25mm pancake lens, the whole SLR can fit in a pocket.

Leica had the S2 System on display. For a prototype, it was extremely well made. It is also big. Considering that this is a medium format-ish system this is to be expected. The lenses are spectacular looking to say the least. Since I was not allowed to take any test images yet, they remain a mystery. One big question about this system that has not been answered is price. Leica has not stated the price and will not until it is closer to launch (probably in or around PMA 2009).

Adobe was drawing in large crowds with the release of Creative Suite 4 (CS4). CS4 is a significant move on Adobe’s part as it migrates them to 64-bit (at least on Windows Vista). The first professional group to take advantage of the 64-bit platform was digital content creation – 3D artists, modellers and animators. The second group is digital photographers. With systems like the Mamiya DL28 (which produces 50 MB RAW files), and the Hasselblad H3DII-31 (sporting 40MB RAW files), both of which are starter systems and list for less than $18,000, digital photographers will need access to large amounts of RAM and the enhanced processing power of 64-bit systems.

Well, that about wraps it up for Day One. Stay tuned for coverage of Day Two.

Meeting up with Leica at PhotoPlus

Thanks to the Leica New York Metro Area Meetup group, I was able to get invited to a session with Leica at the PhotoPlus Expo in New York City. Leica will have the M8.2 and S2 available to try out. I will be taking extra memory cards to take some test images. Whether or not I will be able to post them online is another matter entirely. The M8.2 is an update to the M8 Classic incorporating several features requested by die-hard M users. Quieter shutter, recocking delay, sapphire glass on the LCD, black paint finish, AutoISO, and a host of others. The M8.2 is available for pre-order from various authorized Leica dealers for $6,295 USD. The S2 is an all-new system with a larger than 35mm sensor (it actually sits between a 35mm frame and a 645 frame at 37.5 megapixels) and boasts a set of new lenses expected to outperform anything else on the market. The S2 is expected to ship Spring 2009 and pricing has not yet been set.

Leica Unveils S2 Medium Format-ish DSLR

After a triple whammy of camera announcements last week, Leica AG dropped the proverbial bomb at Photokina 2008. Dr. Kaufmann unveiled their latest creation: the Leica S2 Professional Digital SLR. This beast not only propels Leica into the world of Autofocusing Digital SLRs (which they were sorely deficient in for years), but also places them in a brand new market for them: Medium Format. Long the stronghold of the likes of Hasselblad, Mamiya, Sinar, Rollei and Bronica, Leica charges at the gate with a camera that sports a 45x35mm sensor (vs. the 36x24mm sensor in a full frame DSLR vs. 60x45mm sensor in a full frame MFDB - Phase P65+ back) with a resolution of 37 megapixels. Remember, these are big, fat medium format pixels oozing with with dynamic range. The body itself is sits between the Canon 5D and 1DsMkIII in size and way smaller than the likes of anything offered by the Medium Format guys. One other change is that this camera will be distributed, sold and serviced through Phase One's network of dealers. While this might miff the current Leica dealers, the camera's internals were designed in cooperation with Phase One so it makes sense that they would distribute, sell and support it. Prices for the body and 70mm f/2.5 lens is rumored to be around $18,000USD. Expected availability is Summer 2009. UPDATE: Here is the Leica - Phase One Press Release LEICA CAMERA AG AND PHASE ONE CONCLUDE STRATEGIC ALLIANCE Leica Camera AG and Phase One A/S have agreed to enter into a long-term strategic alliance. Both companies are in mutual agreement on the terms of close future cooperation in the technical development and marketing of premium products for the professional photography segment. The objective is to offer photographers innovative high-end solutions that guarantee the greatest possible creative freedom and set standards in terms of performance, quality and technological maturity. Close cooperation has also been decided upon for the expansion of effective service and marketing structures. The CEO of Leica Camera AG, Dr Andreas Kaufmann, welcomes the collaboration with Phase One: 'Our two companies are an outstanding match for each other due to the similarity of their corporate cultures, their extraordinary innovative strengths and their dedication to absolute quality. We complement each other very well, particularly in the marketing segment. This will enable Leica to establish a strong and sustainable position at the leading edge of the professional segment. Together with Phase One we will soon be able to begin offering professional customers a new range of products and services.' In addition to digital backs for medium format and view cameras, Phase One, the world's leading manufacturer of camera systems for the professional segment, also offers industrialgrade software and image processing solutions specially designed to meet the most demanding requirements of professional photographers. According to the CEO of Phase One A/S, Henrik Håkonsson: 'Thanks to first class internal development and technological alliances, Phase One maintains its leadership in the provision of software and image processing solutions for the professional segment. As a consequence of this strategic alliance with Leica, Phase One now has access to the vast optical expertise of the market's quality leader and we can improve our product offerings to the world’s best photographers. Leica Camera AG in Solms offers precision optical products of uncompromising quality and mechanical precision for the industrial and private high-end segments. The Leica range embraces a broad spectrum of cameras and precision optical products for analogue and digital photography, projectors and a range of binoculars, spotting scopes and rangefinders for field observation. Thanks to systematic investment in the manufacture of aspherical optical elements, Leica possesses vast expertise in the manufacturing, the optical calculation, the measuring and testing technology, as well as in the construction of lenses and the assembly of aspherical lens systems. Further information about Leica Camera AG and its products can be found at www.leica-camera.com. UPDATE 2: Official Press Release from Leica on the S-System A new dimension for professionals LEICA S2 – Radical new digital SLR camera system from Leica Responding to the commercial needs of professional photographers, Leica Camera AG in Solms will introduce the Leica S2 at photokina in Cologne (23rd-28th September 2008), a new digital Leica SLR camera system for professional photographers. A new system concept has been developed, entitled “Made in Solms”. For this camera concept, renowned professional photographers have been involved in all parts of the development process. The outcome is a system designed specifically to deliver the fastest, high end resolution work, requiring the minimum of post production. Excellent news for commercial photographers seeking to exceed demanding client expectations in a working time which allows improved income for their talents. Designed from scratch the new German made camera is ground breaking, as unlike most other pro digital systems, it does not use a conventional medium format or 35mm platform. The LEICA S2 has a sensor size that exceeds the 35 mm format and incorporates many of the advantages of professional systems. The new 37 mega pixels CCD sensor with a breathtaking image resolution will produce images at the top of the professional game for a number of years. In particular, the lenses set new performance benchmarks enabling the sensor to overdeliver per pixel. The pixels are distributed on a sensor 56% larger than full size 35mm. The compact design and handy metal body is smaller than those of comparative products from different manufacturers. Ergonomic and a pleasure to use, the camera is set to become a professional photographer´s favourite. The camera´s bespoke sensor has enabled the Leica designers to produce the smallest camera in its class. It´s super modern new and innovative processing technology is twice as quick. The Leica “MAESTRO” image processor developed with Fujitsu specifically for the LEICA S2, allows the camera´s lenses, firmware and sensor to function at their optimum. It produces market leading processing time and the highest level of picture quality with minimal energy output. It enables picture quality and super quick transfer time with minimal energy output. In spite of the sensor size, the extremely compact body is fully protected against dust and splashes. For this class of camera, the LEICA S2 has a particularly precise and quick autofocus system that makes focusing easier. The large, bright viewfinder makes picture composition easy. Taking many pictures in quick succession is also possible, and there is a high sensitivity setting to use when lighting is problematic. New lenses designed specially to suit the demands of this format offer unrivalled imaging quality and set new benchmarks for the camera market as a whole. Thus the LEICA S2 lens system meets the needs of professional photographers. The optic calculation incorporates all the factors and requirements of digital technology, meaning that software to correct image artifacts becomes superfluous. The constant high image quality is present right into the corners of the images, from close up to infinity. Even at wide apertures, maximal contrast, high resolution and detailed colour reproduction are guaranteed. The between-the-lens shutters in some of the system lenses enable lightning fast synchronisation for the quickest possible exposure time. The quick and precise autofocus of the Leica S lenses can be adjusted manually at any time. Like the camera, the lenses are made from metal and come with a weatherproof seal. The lenses are thus particularly robust and protected from dust and dampness. The LEICA S2 is particularly easy to handle and choosing the settings is pretty much intuitive. Ergonomically designed, the body sits comfortably in the hand whether in vertical or horizontal position. The bright, high-resolution display with quick zoom-in function enables exposures to be seen perfectly even in daylight. The camera concept can be integrated seamlessly into the professional digital workflow. With Dr. Andreas Kaufmann as its main shareholder, Leica Camera AG is entering a new era. Following in-depth and successful re-structuring, the business can now concentrate on investing in new products. Leica has made a quantum leap in the field of digital technology, enabling it to combine the advantages of highly developed digital technology with the classic Leica values concerning optics, mechanics and optimal image results. The result of this is uncompromising cutting-edge technology; the LEICA S2 is the first to offer all these things to professional digital photographers. The LEICA S system sets the trend for future Leica products in terms of technology and leads the way for future product ideas from Leica Camera AG. Preliminary Analysis Based on available information, the S-System is a bold move by Leica. Always considered a Premium Brand, Leica needed to chart new territory in order to keep itself fresh and a market leader. Entry into the DSLR arena would have placed Leica at a disadvantage against market heavyweights Canon and Nikon (and they would have to duke it out with Sony who recently introduced a full frame 35mm DSLR). By jumping to medium format, a blossoming area in digital photography where equipment costs are much higher than the more pedestrian 35mm format, Leica stood poised to bring their expertise to bare on a market hampered by large camera systems and slow image acquisition speeds. Add to this their Bauhaus style ergonomic designs, dust and weather seals, high performance optics designed for the sensor (taking a page from the Four Thirds manual it seems) and teaming up with a leader in the development of medium format sensors and software, Phase One, all adds up to a tremendous market opportunity for Leica. What remains to be seen is whether professional photographers and rental houses will go for it. The official Leica S-System site is located at http://www.s.leica-camera.com

Nikon MX Rangefinder musings...

Rumors have been flying about the blogosphere regarding an earthshaking product introduction by Nikon. Nikon took out a half-page ad in Rangefinder Magazine about "Something Big" to be announced at the WPPI convention in February 2009.NikonRumors has been tracking this for quite a while and even Wired picked up on this. So far the rumors have Nikon introducing a new format sensor called MX. The MX sensor is 48 mm x 48 mm and has 40.7 megapixels. These pixels are the same size and pitch as the ones in the D3/D700 so the camera should have spectacular low-light capabilities. The sensor can be masked for portrait or landscaped images without having to rotate the camera. The camera will be able to mount DX and FX lenses with and adapter. Here are some observations and deductions I have made: 1. Nikon wants in on the lucrative MF/Wedding market and will lowball the competition severely. Phase One is currently offering a P45+ back for $29,990 and they are throwing in the rest of the camera kit (Body, Viewfinder, & 80mm Lens - an $11,000 value) for free. Rumors place the price of the MX in the sub $10k range. 2. The RF in this system will likely be a refined version of the ERF in the D700. If the MX uses a optical viewfinder, it may not couple with the focus mechanism (ie, will only be used for framing the image and will always be in focus) while the lens AF handles the actual focusing. If they take the path of EVIL (Electronic Viewfinder Interchangeable Lens), then they can simulate SLR-like framing, focus and composition in an RF style body. 3. It will likely be way smaller than current DMF systems. Especially if they use EVIL. 4. FX lenses will have a .5x magnification crop. Wides will be wider and and teles will be shorter. This will target the Alpa/Cambo/Horseman shooters who are looking for a smaller landscape/architecture rigs. The MX would offer superior features over those systems as they are all scale-focus cameras.

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UPDATE: Nikonrumors has posted another update. It looks like the MX (codename "Otoji") will be a mirrorless design. Here is the quote: The initial problem of the difference in flange register between both standards is addressed by the automatic repositioning of the focal plane of the sensor unit. The adjustment is made automatically when the adapter is mounted. The mirrorless design allows for adequate space to accomplish this while electronic masking ensures accuracy while still keeping the unit size very compact. The keywords here are:

automatic repositioning of the focal plane of the sensor unit when the adapter is mounted

mirrorless design

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UPDATE 2: Matt over at Nikonwatch has received the following anonymous tip: Dear Matt FYI: On speaking with Nikon [in country unnamed], this came to light with various questions - they already had development plans for a new Nikon digital rangefinder with approx 48mmx48mm size sensor inside it, tentatively called the “MX” format, the camera is not to dissimilar to the older film Mamiya 6 camera philosophy. The new camera will be backward compatible with DX and FX lenses (via mount adaptor), therefore the lens factor (based on using a FX lens) will be worked out like this: DX = 1.5x (Half frame) FX = 1.0x (Full frame) MX = 0.5x Custom format choice: When shooting in FX mode with this camera, you will be able to “rotate” the sensor crop from landscape to portrait rather than turn the camera as well as be able to shoot the full square resolution this camera provides. options for 5:4 etc will also be available. Viewfinder/Live View: For more critical cropping (like for still-life and macro work) you will be able to use the live view function for exact framing rather than the rangefinder component. Sensor: about 48 megapixels, similar to the Nikon D3 design. Lenses: New range of lenses required for the full MX format, zoom option available covering different ranges on different formats, lenses relatively compact for format size. Summary A relatively compact traditional “medium format-esque” camera in a new camera line that will be aimed at studio, portrait, landscape and wedding photographers needs, with a more affordable price point than present larger format digital backs. This will allow the continuation of the D line as the sports and news photographers choice, expanding on the D3 with an upgrade to a 24mp sensor (hopefully available for the D3 body!) and future plans for 60 frame rate video recording modes in future models. Please keep my name, email and location anonymous. This certainly fleshes out more details about this rumored camera. But several questions remained unanswered: How big will this camera be? Medium Format cameras are large and boxy due to their modular nature. Will this system be smaller than current MF offerings or will it be about the size of the old Mamiya 6? This brings up an interesting point: There is another, parallel rumor circulating that the "MX" moniker only means "modular" or "multi-format". So will this be a "classic" rangefinder or MF SLR style body or a mutant mirrorless design? I myself favor the mutant mirrorless version as this would allow Nikon to really shrink the body and still provide such goodies as TTL framing and focusing as well as electronic masking and would cut down on the mechanical complexity of the camera.

Phase One Announces Full Frame Medium Format Camera

While rummaging around the Photokina 2008 Press site (see link below), I came across this little tidbit. Phase One A/S (makers of medium format digital cameras/backs and the CaptureOne RAW Converter) have leapfrogged Hasselblad by releasing a 60.5 megapixel digital camera system!

Digital Medium Format cameras are fully upgradeable. Owners can update any of the system modules to keep their investment current. Such modularity comes with a price however. The Phase One P65+ digital back starts at $39,900 USD and the P65+ Camera System starts at $41,990.

So what does a camera that costs as much as a loaded Audi A4 bring to the table?

The Phase One P 65+ is the first digital back and camera system to take advantage of the new Sensor+ design and is the world's first full-frame capture system based on actual 645 film format. The P 65+ provides the largest live capture area available with coverage of 53.9mm x 40.4mm - enabling full viewfinder coverage thus no need for lens magnification. "What you see is what you get." The P 65+ sensor format provides 20 percent more live area compared to 39 or 50 Megapixel, 48mm x 36mm chips currently delivering or announced. Sensor resolution is 60.5 Megapixel with 8984 x 6732 active pixels achieving 180 MB, 8 bit RGB files.

In addition to offering the industry's largest live capture area and highest resolution, the P 65+ offers captures at 1 frame per second, reduction of Moiré artifacts, next generation Lens+ & Focus+ technologies and an unprecedented 12.5 f-stops of dynamic range.

Pros

Lots and lots of big pixels,

Buckets of dynamic range,

Total system upgradability

Cons

Bulky

Price

Slow frame rate (1/sec)

Press Release

(Via Photokina Press Site.)