Multispectral imaging (MSI) is not a term you hear every day, but it’s a technology that is quietly transforming the way we study the past. By capturing information across ultraviolet, visible and infrared wavelengths, MSI can reveal details invisible to the human eye, faded inks, erased markings or underlying layers of paint – all without touching or damaging the object.

It’s an approach that combines high-resolution photography with advanced analysis, and Phase One’s Rainbow MSI Solution is currently setting the standard in this field.

One of the most striking examples of this technology in action comes from China’s Western Zhou Dynasty. Researchers were tasked with studying wooden slips inscribed with vermilion ink, texts that form part of an important record of early Chinese civilization.

Over 2,000 years old, the inscriptions had almost completely faded, rendered illegible by centuries of environmental wear. To the naked eye, they were nothing more than faint, scattered marks.

Using Phase One’s Rainbow MSI system, researchers were able to capture a complete spectral dataset; essentially photographing the wooden slips across 16 distinct wavelengths, from ultraviolet to near-infrared. Each wavelength revealed subtle differences in how the cinnabar pigment (the basis of the vermilion ink) reflected light.

By processing these images, the team could isolate the spectral 'signature' of the ink from the background wood, reconstructing the handwriting in clear detail. Texts once considered lost could finally be read again.

ABOVE: Watch Phase One's Rainbow MSI technology in action

What is Multispectral Imaging?

Photography, as we know it, records only the visible spectrum; the narrow band of colours that our eyes can detect. MSI extends this concept by capturing information across a far wider range of light wavelengths. Materials and pigments reflect light differently across these wavelengths, so multispectral data can reveal contrasts and patterns that are otherwise invisible.

For cultural heritage work, this is revolutionary. MSI can uncover faded text on ancient manuscripts, detect hidden sketches beneath layers of paint or map the material composition of fragile artifacts. Most importantly, it’s a non-invasive method: everything is revealed through light alone, with no need to physically alter the object.

Phase One’s Rainbow MSI Solution is designed to make this complex process accessible and reliable. Traditional MSI involved painstaking manual adjustments for each wavelength and filter; a time-consuming workflow that often led to alignment errors.

The Rainbow MSI automates the entire sequence. Place the object, press 'capture' and the system cycles through the necessary wavelengths, producing a perfectly aligned image stack in minutes.

At the heart of the system are Phase One’s iXH 150MP and iXG 100MP cameras, both built around high-resolution, colour-accurate CMOS sensors and advanced focusing systems that ensure sharp, repeatable results across ultraviolet and infrared light as well as standard visible light.

The same setup can be switched back to conventional high-resolution digitization simply by adding an IR/UV cut filter. These cameras are paired with Schneider Kreuznach 72mm and 120mm lenses, and a custom lens shroud mounted on a filter wheel.

The software is equally powerful. As images are captured, they’re processed into a spectral stack ready for analysis. Built-in tools like PCA and Independent Component Analysis (ICA) separate the spectral data, permitting researchers to highlight specific materials or pigments.

Automation and precision mean the workflow can be up to 50 times faster than older methods, which is crucial when dealing with large archives or fragile collections.

The wooden slips from the Western Zhou Dynasty are a perfect example of the challenges that MSI can solve. Vermilion ink is notoriously difficult to isolate under single UV or infrared lighting because its spectral characteristics are subtle.

By capturing the full spectrum, however, the Rainbow MSI system provided enough data for researchers to distinguish the faint ink traces from the darker wood beneath.

Through spectral analysis, the blurred characters came back into focus, offering historians a wealth of new information about this formative period in China’s history. The success of this project demonstrates not just the power of MSI but its potential to unlock other historical puzzles, from unreadable scrolls to faded paintings.

For those unfamiliar with this technology, it might seem like a niche tool for museums and archives. But the implications are far broader. MSI is redefining what we can learn from our cultural heritage. Every time it recovers lost writing or reveals hidden details, it gives us a more complete understanding of history.

With the Rainbow MSI Solution, this process has become faster, more consistent and more accessible. Its non-contact approach means fragile artifacts remain unharmed, while its high-resolution captures can be used for everything from scholarly research to public exhibitions.

As someone with a background in archaeology, I can see how transformative this is. Traditionally, studying the past has meant carefully excavating or handling physical objects, always with the risk of damage. MSI represents a new kind of excavation done with light rather than tools, uncovering details that were always there but hidden from view.

The Western Zhou project is just one example of what’s possible. From ancient manuscripts to Renaissance paintings, multispectral imaging has the potential to rewrite our understanding of cultural history – and Phase One has showcased many of these examples on its website.

you may also like

Check out our guides to the best medium format cameras and the best document scanners.

Thirty years ago, Phase One emerged as a quiet but visionary player in the world of digital imaging, and today I marvel at the journey it has taken. From humble beginnings selling StudioKit scanning backs in 1994 – that attached to medium-format cameras and recorded an image a line at a time. And then to launching the groundbreaking LightPhase one-shot back in 1998, the company set its course early on. You can see all of Phase One's product lineup from 30 years agon, all the way up to modern day in the video below:

That original LightPhase, a 6-megapixel marvel built for Hasselblad medium format roll-film bodies, marked the start of a legacy defined by quality and innovation. It wasn’t just a tool - it was an aspiration, a signal that Phase One would always push to capture reality with unmatched clarity.

As the new millennium dawned, Phase One doubled down on its commitment to excellence. The P-Series digital backs in the mid-2000s - starting with the P20, P25, and later the P45 - redefined what professionals expected: high resolution, extended ISO range, and dynamic range that previously only existed on film.

The P 65+ in 2008 emerged as the crown jewel, delivering a HUGE 60 megapixels and ISO up to 3200 - success that funded the next leap forward. Watching that evolution, I fell deeper in love with Phase One’s ethos: long-term thinking over fleeting trends.

Then came the IQ series - IQ1, IQ2, IQ3, and now IQ4, digital backs that didn’t just capture images, they delivered revolutionary workflows. From USB‑3 tethering to retina‑quality touch screens and sensor+ modes capturing up to 150‑plus megapixels, each back felt like a glimpse of the future.

I remember the IQ3’s 60‑minute exposures and power‑sharing between body and back - it felt like they knew exactly what I needed before I did. These backs weren’t incremental; they were rebirths with each new iteration.

Yet the true pinnacle is, in my heart, the XF Camera System. Launched back in 2015, it didn’t just redefine medium format - it reinvented it. With its modular design, Honeybee autofocus, upgradable OS and OneTouch interface, and seamless integration with IQ backs, the XF felt built alongside photographers, not for them.

Its robust build, long warranty, and firmware roadmap meant photographers weren't just buying a camera; they were investing in a vision that grows with shooting with the XF system - even today the XF body still gives me that thrill: this is a tool that cares - and it shows.

Thirty years on, I’m grateful. From the first pixels of the LightPhase to the precision of the XF and IQ4 combo, Phase One has crafted an image of what photography can be: soulful, uncompromising, and future‑proof.

It’s rare to find a brand that respects its past even as it races ahead, and rare still to love one so deeply. Here’s to three decades of beauty in every frame - and to however many more to come.

Check out the best digital medium format cameras available today

The Buddhist monastery of Tabo is located in the barren Himalayan mountain desert valley of Spiti, formerly part of Western Tibet, now, Northern India. Founded in the year 996, it is the oldest continuously operating temple site in Tibetan culture, remaining largely unaltered from its original state over one thousand years ago.

Photographer, explorer, and author Peter van Ham has dedicated over 30 years to studying this remarkable ancient site, meticulously documenting its breathtaking artworks, sculptures, and buildings. Building on the success of its initial release in 2015, he has now unveiled a revised edition of his groundbreaking photography book, Tabo: Gods of Light, and it is nothing short of spectacular!

The Tabo Monastery was predominantly constructed from simple mud huts, which functioned as universities and gathering spaces for saints and scholars in the 11th century. This period is celebrated as the 'golden period'. Within the monastery, the main temple – known as the 'Palace of Excellent Teachings' –boasts an impressive and diverse collection of Indo-Tibetan art, showcasing masterpieces that have withstood the test of time for centuries.

The main temple building is an artwork in itself, created from a collaboration between Indian and West Tibetan artists, its form takes the shape of a horizontal mandala - a symbol of higher enlightenment.

Tabo presents artworks adorning the interiors of its various temples including thirty-three 1,000-year-old sculptures and hundreds of paintings providing a rare insight into Tibetan art forms and styles. It provides a unique look at the preserved second period of West Tibetan art from the 15th and 16th centuries as well as later periods, all documented with accompanying texts and presented in a large format volume by van Ham.

Speaking on Tabo, van Ham says, "At an altitude of 3200 meters in the barren western Himalayan desert of India, directly on the border to Tibet, lies the oldest monastery in the entire Tibetan cultural area, preserved largely its original form: Tabo. Founded in 996 A.D. by the kings of Western Tibet, it still shines today, more than 1000 years later, with incomparable works of art in sculpture and painting, which are still held in high esteem as a means of attaining the highest states of enlightenment".

There are not many places left in the world where you can experience the art and craftsmanship of the culture that made it over 1,000 years ago, therefore Tabo is an endangered and ancient site that is ordinarily strictly off-limits to cameras. Peter van Ham was granted special permissions when first documenting the site in the 1980s and returning in 2023 he knew he wanted to photograph further. This time, however, with the help of Danish camera manufacturer Phase One, responsible for developing the highest resolution cameras on the market.

After success with Phase One cameras on a previous project, van Ham reached out again for support which was given by the use of Phase One's incredible high-resolution equipment. Van Ham used a combination of the Phase One XF and XT camera bodies with the 150-megapixel IQ4 150 digital back and a selection of lenses that included SK 240mm, SK 120mm, SK 80mm, SK 55mm, and SK 35mm.

The walls of the temples were so large that many of the images were captured and stitched into a composition, which van Ham said took weeks of post-processing to finalize. This wasn't the end of the technical challenges as with every shift of the camera, the LED light panels used to illuminate the artwork would also need to change. Each shot you see in the book was fought for and crafted to be as true to life as possible, a testament to van Ham's technical prowess.

The resulting book offers an exceptional large-format exploration of Tabo, guiding the reader through this ancient site with remarkable detail. Each section features insightful text that delivers comprehensive knowledge about Tabo's history, accompanied by stunning, high-quality images that immerse you in the experience as if you were truly there.

Tabo: Gods of Light by Peter van Ham is published by Hirmer Verlag and is available to buy now in the UK for £55 and for preorder in the US for $70 with a November 26 release date – although early Black Friday deals have it discounted already!

This is the ideal holiday gift for those interested in photography, art, or history as it provides an exclusive look at a culture largely untouched for 1,000 years and presents it in a beautifully curated viewing experience!

As a Fujifilm GFX user, I was very excited to see the release of the Fujifilm GFX 100 II, an all-new 100MP medium format monster, but what really excited me was when Fujifilm announced that it is a 'hybrid powerhouse'.

I am still trying to get my head around the fact that we can use digital medium format cameras handheld, out of the studio on location, and don't need to break the bank to do so (in comparison to Hasselblad and Phase One's offerings).

Fujifilm has certainly revolutionized medium format cameras and delivered them to the masses, however, the prospect of using it as a video camera was a little too hard to believe – until I saw the specifications and the sample footage.

The Fujifilm GFX 100 II is one of, if not, my favorite I have ever used for stills photography. The amount of detail that you can capture is breathtaking, and the colors that Fujifilm produces with its film simulations, provide endless opportunities for exploration. While using it however, I never even considered testing out the video capabilities as it felt completely foreign on a medium format camera but recent footage has made me wish I did.

Above is a trailer for the short film Soul of the City, captured entirely on the GFX 100 II with adapted anamorphic lenses. The image quality, color grade, and overall aesthetic of the trailer look phenomenal and show off the camera's excellent video capabilities, and the behind-the-scenes video provided another level of technical insight.

The filmmakers praised the camera's versatility for being able to capture a mixture of static and dynamic shots without having to change the rig setup. The GFX has a huge sensor which brings with it, a large dynamic range of 14+ stops, this was also singled out as a key feature for the filmmakers as it enabled a larger level of adjustment to the shadows and highlights when post-processing.

The GFX 100 II has 4K/60p and 8K/30p 4:2:2 10-bit in-camera recording, a base ISO of 100, support for multiple cine recording formats, subject tracking, and F-Log2 support – all of the specs to make it an incredible video camera.

I'm not saying that this should be chosen over a dedicated video or cinema camera but with the GFX quality stills capabilities, Fujifilm hit the nail on the head – this is a powerhouse of hybrid camera!

Check out our guide to the best hybrid camera, the best Fujifilm camera, and the best medium format camera.

Last year, Phase One introduced the XC, a 150MP medium-format camera featuring a built-in Rodenstock 23mm f/5.6 lens. Now the Danish camera company has launched a new version of the camera, the XC 40, that comes equipped with a longer lens to offer a more versatile option for photographers.

The original Phase One XC received critiques regarding the ultra-wide 23mm lens, which provides a 14mm full-frame equivalent focal length. While this wide-angle view was useful, it isn't the ideal choice for many landscape or travel photographers as it can be too wide for most standard compositions. 

The new Phase One XC 40 features a more conventional wide-angle 40mm lens, delivering a 24mm equivalent focal length, aligning more closely with what photographers typically look for in wide-angles.

ABOVE: Watch the Phase One XC 40 launch video

The XC 40 retains the manual focus lens design of its predecessor and can be paired with Phase One's IQ4 150MP digital back. This new 40mm Rodenstock HR Digaron-S lens also boasts a faster f/4 aperture, compared to the f/5.6 lens on the original XC 23. 

The IQ4 150MP image sensor offers significant cropping options – bearing in mind that this is a true medium format sensor, at 53.4 x 40mm, compared to the cropped medium format 43.8 x 32.9mm sensors used b y Fujifilm and Hasselblad – along with 15 stops of dynamic range, an ISO range of 50-25,600, and image resolution of 14,204 x 10,652 pixels. The system is operated through a touchscreen interface, and captures 16-bit RAW images.

Beyond its lens and sensor, the XC 40 also includes numerous advanced features designed to aid photographers. These include automated frame averaging, automatic metering (unusual for field cameras), built-in WiFi, mobile integration, and customizable "IQ Styles" for dialing in specific looks. These features are designed to make the camera more versatile in the field, simplifying shooting without compromising on quality.

The biggest question that potential buyers face is why they might choose the XC 40 over Phase One's other options, such as the XF or XT bodies that offer interchangeable lenses. 

The XC cameras' main advantage lies in their compact, travel-friendly design – a rarity in the true medium format space. However, for those seeking flexibility in lens choice or the tilt-and-shift functionality offered by the XT, the XC 40 may not be the ideal option despite its strong set of features.

I will also point out that "body-only" (the lens is attached to the body) will see you invest US$20,029 (about $29,057 Australian) of your hard-earned cash; if you want the 150MP back as well, then the total package is a massive US$62,490 ($90,649)! 

If you don't want to spend 20 grand on one, you might be interested in the best medium format cameras from other manufacturers. And you don't need medium format to get high resolution; check out the highest resolution cameras across all formats!

Last year, Phase One introduced the XC, a 150MP medium-format camera featuring a built-in Rodenstock 23mm f/5.6 lens. Now the Danish camera company has launched a new version of the camera, the XC 40, that comes equipped with a longer 40mm lens to offer a more versatile option for photographers.

The original Phase One XC received critiques regarding the ultra-wide 23mm lens, which provides a 14mm full-frame equivalent focal length. While this wide-angle view was useful, it isn't the ideal choice for many landscape or travel photographers as it can be too wide for most standard compositions. 

The new Phase One XC 40 features a more conventional wide-angle 40mm lens, delivering a 24mm equivalent focal length, aligning more closely with what photographers typically look for in a wide-angle.

ABOVE: Watch the Phase One XC 40 launch video

The XC 40 retains the manual focus lens design of its predecessor and can be paired with Phase One's IQ4 150MP digital back. This new 40mm Rodenstock HR Digaron-S lens also boasts a faster f/4 aperture, compared to the f/5.6 lens on the original XC 23. 

The IQ4 150MP image sensor offers significant cropping options – bearing in mind that this is a true medium format sensor, at 53.4 x 40mm, compared to the cropped medium format 43.8 x 32.9mm sensors used b y Fujifilm and Hasselblad – along with 15 stops of dynamic range, an ISO range of 50-25,600, and image resolution of 14,204 x 10,652 pixels. The system is operated through a touchscreen interface, and captures 16-bit RAW images.

Beyond its lens and sensor, the XC 40 also includes numerous advanced features designed to aid photographers. These include automated frame averaging, automatic metering (unusual for field cameras), built-in WiFi, mobile integration, and customizable "IQ Styles" for dialing in specific looks. These features are designed to make the camera more versatile in the field, simplifying shooting without compromising on quality.

The biggest question that potential buyers face is why they might choose the XC 40 over Phase One's other options, such as the XF or XT bodies that offer interchangeable lenses. 

The XC cameras' main advantage lies in their compact, travel-friendly design – a rarity in the true medium format space. However, for those seeking flexibility in lens choice or the tilt-and-shift functionality offered by the XT, the XC 40 may not be the ideal option despite its strong set of features.

I will also point out that "body-only" (the lens is attached to the body) will see you invest $20,029 (about £14,931) of your hard-earned cash; if you want the 150MP back as well, then the total package is a massive $62,490 ($46,585)! 

If you don't want to spend 20 grand on one, you might be interested in the best medium format cameras from other manufacturers. And you don't need medium format to get high resolution; check out the highest resolution cameras across all formats!

When you hear the term '100-megapixels' you instantly think of massive cameras on tripods in studio environments and pros using the best medium format cameras carefully fine-tuning settings.

So one would think that these goliath cameras with 100MP sensors would be best suited in a studio and not an international cross-country equestrian event. Well, in true bonkers-me fashion, I took the Phase One XF 100MP to capture riders and their horses at speed across the countryside and I was amazed how well this 'slow' camera performed. I can tell you it was no slouch!

I was at one of the most esteemed events in the world equestrian calendar. It was the Gatcombe International horse trials, and I picked a tricky and important time to test a theory I had that a medium-format camera could be used for sports. 

Back then I was doing a lot of advertising work in the field (excuse the pun) so I thought perhaps medium format could offer the best advantage to my clients and get the upper hand over my fellow photographers.

What I discovered was a wonderful experience of shallow depth of field and the most intense resolution that went above and beyond my wildest dreams. So, armed with the Phase One XF 100MP camera, a Phase One 120mm f/4 LS lens, and a massive Pelican hard camera case full of other lenses – $70,000 worth to be exact – I nervously made my way onto the course.

The images from this event went all over the world, and at the time I had many photo editors say "Why are the files so big" or "What is a Phase One?" 

Some images even impressed the CEO of a multi-million dollar company who just so happened to be stood next to me while I was at the water jump taking photos of Princess Anne's house in the background – only to find the Princess Royal stood to my left , so I was sharply moved to one side by her security as I stood up!

The images from this event are like no other, at first they look like any other images, but what sets them apart is their resolution and quality of the most minute detail - perfect to capture that brand name in full 100MP glory!

But what surprised me more than anything was the camera's ability to capture horses going 30mph (48km/h) and still be pin sharp – I was amazed, and I have never used anything else like it, apart from the XF's counterpart the Phase One XT system.

I will never likely use anything like it again either as the current Phase One XF IQ4 150MP retails for a jaw-dropping, and eye-watering $50,000. Is it worth it? 100%, every single dime! Just that there are a lot of nickels to save to have the best in the world!

I'm sure you've all clicked the headline ready to roast me. Maybe to say what the heck am I talking about, as you have been using image stabilization or vibration reduction for years and it saved your images.

But in nearly 20 years of being a pro sports photographer, I have not once used IS or VR on any of my lenses – be that 28mm up to my 600mm f/4. And throughout my career I photographed horses going 30mph across all terrains, in all weather conditions, all around the world.

Now, I'm not going to say that I'm a better photographer than anyone who was and is using image stabilization on their lenses. I used a monopod for most of my shots above 400mm, and yes I did handhold everything from 300mm and below. But what made me not use IS / VR was that it limited my ability to capture motion.

That might sound like an ironic message, when stabilization is meant to enable you to take images at lower shutter speeds and capture motion. But when I was taking images nearly 20 years ago, Nikon's VR was rubbish. I recall activating it on my Nikkor 70-200mm and doing a quick pan, and the VR motor would move so much that it could not keep up with my own movement to capture a solid image.

I also used Canon's IS system on its 400mm lens back in the day (when I debated switching systems) and still, that would not be able to nail a secure image when I would swing with the movement of the horse – even with a little motion when the IS was set, it just would not work for me at all.

Of course, I will admit that image stabilization has got a lot better than the early days when it arrived on pro-grade lenses – and I was shooting way before in-body image stabilization was even a thing!

So turning IS / VR off taught me that I needed to be still, steady and control my breathing – especially if I was shooting my 600mm f/4 at 1/200 sec. While this all might sound rather dated in today's world of modern tech, it did teach me a lot about lens technique, body movement and how it can affect the overall image.

One thing that I always hate to hear is how many stops of stabilization the latest and greatest lens has. Think about some of the best sports photographs you've seen from the likes of Chris Smith, Nick Walker, Leo Mason or Mark Sutton – these guys didn't have IS / VR back in the day, they had a bean bag at best or a strong arm!

There is something to be said for a good handheld technique that can save you if you're in a pinch. So after nearly reaching that 20-year mark, I have still to this day never used stabilization in my professional career. I'm quite possibly a bit "old hat" about it, but I'm certain that I don't need it – and I bet some of you would be better without it, too.

You might be interested in the best lenses for sports photography – and the best cameras for sports photography, too. 

Phase One, a leader in high-end digital imaging solutions, has launched the Phase One iXH 100MP camera system to preserve tomorrow for the history of tomorrow. 

This new addition joins the iXH 150MP and MSI systems to advance the digitization of cultural heritage collections produced by Phase One, designed to preserve large volumes of artworks, documents, and artifacts with high precision and speed. The iXH 100MP ensures high-quality images with excellent color accuracy and fine detail, crucial for maintaining the authenticity of heritage artifacts.

Drew Altdoerffer, VP Digitization at Phase One has this to say on the announcement: 

"We are excited to expand our heritage portfolio at Phase One with the introduction of the iXH 100MP camera system, a standalone solution that inherits the reliability, precision, and standards of our renowned Geospatial solutions built specifically for Heritage Documentation applications."

The new system is designed to complement existing iXH optics, making it ideal for film scanning and high-volume book/document archives. Integrated with Capture One Cultural Heritage software, the iXH 100MP surpasses current ISO and FADGI standards, ensuring exceptional quality and efficiency in digitization.

The Phase One iXH 100MP is meticulously crafted to capture every pixel, preserving the essence of artwork with exceptional resolution and color accuracy. Aimed at curators, archivists, and digitization technicians, the iXH 100MP ensures digital reproductions are as authentic to life as the originals. By exceeding preservation standards, this camera system guarantees no detail is left undocumented, thus safeguarding the authenticity and nuance of cultural heritage objects.

The iXH 100MP is designed for efficiency, featuring one-click functionality and precision automation to digitize extensive collections faster than ever before. This purpose-built camera system addresses high-volume digitization needs, overcoming the limitations of traditional scanners. 

The fully integrated Capture One CH software streamlines workflows with specialized tools for operators, ensuring unparalleled speed and accuracy in large-volume production. Phase One's Intelligent Image Quality (IIQ) files capture intricate details and essential data for flexible processing and non-intrusive evaluation, supporting the dynamic field of conservation and enabling continuous refinement as software evolves.

While we might all not be able to have one of these in our home for digitizing our film negatives (admittedly I'd love to have one!) it's clear that this yech really will be the future of preserving our history to be viewed by future generations for years to come, and that's exciting!

A new 247MP medium format camera is reportedly coming from Phase One in 2025, shattering the current resolution records for the consumer market. 

Currently, the best medium format cameras from Hasselblad and Fujifilm top out at 100MP, with the highest resolution cameras being Phase One's 150MP XF and XT bodies. 

Aside from the resolution, the crucial difference between the sensors used by Phase One and those used by Hasselblad and Fujifilm is the physical size; the XF and XT feature full-size 53.4 x 40mm sensors (which is true medium format), while GFX and X System cameras use cropped 44 x 33mm sensors. 

According to the report by Photo Rumors, the upcoming camera from Phase One "will most likely" use Sony's new IMX811 247MP sensor (available in color or monochrome, which would accommodate Phase One's Color and Achromatic digital backs).  

Interestingly, this new sensor has an aspect ratio of 3:2 – which diverges from the 4:3  standard employed by today's medium format cameras (with the exception of Leica, whose S system also uses 3:2). 

While its total resolution is 261.90MP, its effective pixel count is 247.04MP and active pixel count is 245.76MP, offering 19,240 x 12,840 images with a maximum frame rate of 12.4fps. 

Of course, the astronomical pixel count isn't the only thing we can expect of such a camera; Phase Ones carry an astronomical price tag, too. 

When the Phase One IQ4 150MP family launched in 2018, it was priced at $54,990  (which worked out at £42,610 / AU$74,790) – which I jokingly worked out was about $344 / £267 / AU$468 per MP. 

Using the same back-of-napkin maths, that gives us a price of $84,968 / £65,949 / AU$115,596 for this 247MP camera – which isn't adjusted for inflation, but is just a bit of nonsense.

Either way, expect this new Phase One to be prohibitively expensive – if, indeed, it does prove to be more than just a camera rumor.

If you're interested in medium format, you might want to take a look at the best Hasselblad cameras along with the best Hasselblad lenses as well as the best Fujifilm cameras and best Fujifilm GF lenses. 

Finn O’Hara submitted his photograph, titled ‘Mikaël Kingsbury, Olympic Freestyle Skier’, to the prestigious International Photography Awards, an annual competition that attracts entries from top professionals, amateurs and students worldwide. 

His skiing photograph was originally a commission from a client, however, Finn saw its potential and decided to follow his instincts. “I took it another step further by creating an image that I couldn’t take during the pandemic. I had imagined what it would be like if we had a skier flying through a cloud of coloured smoke, and how incredible that would look,” says Finn. 

Constrained by the pandemic, time and money, he decided to photograph skier Mikaël Kingsbury in a studio in Canada where he was based. The photographer’s point of view is crucial to showcasing movement in sport and action photography. “The skier is on his back on a waist-high platform so he can articulate his skis, poles and body. I’m on a 12ft-high platform above him, shooting directly down. He’s looking at a monitor that shows him what I’m shooting so that he can get his body positioning correct,” says Finn. 

Fast gear

Finn used a PhaseOne IQ3 100MP medium format camera with a Schneider Kreuznach LS 55mm lens to capture this shot, adjusting his camera settings to 100 ISO, f/11 and setting the shutter speed to 1/320sec. The combination of aperture and a fast shutter speed enabled him to freeze the movement. Since the photo was taken in a studio, artificial lighting played a big role in creating the shot. 

“Our lighting system is powered by five ProPhoto Pro-10 power packs. I took shots of the mountains to give the skier context, and then photographed green smoke from several smoke bombs but turned them red in post,” he explains. In post-production, Finn worked closely with a retoucher to seamlessly combine the elements that he had captured in the camera into one photograph.

• The best photography lighting kits for studio, location and video

Finn's most used kit 

“The most used items in my camera kit are my Canon R5 and RF 28-70mm f/2L lens. With reliable autofocus and respectable ISO, they allow me to be flexible. I love my travel tripod with Gitzo carbon fibre legs and Manfrotto 410 geared head – it’s versatile and solid. But the tools I most rely on are my SanDisk memory cards and field SSD drives. I need them for every photo I take and they never let me down.”

When photographing in snowy conditions, Finn uses a hard shell backpack made by ThinkTank. He says, "It’s not only rugged but it’s waterproof too. Water can silently ruin camera equipment, so by having a waterproof and shockproof case, I never worry about my equipment.”

Pro Advice

Get ready for the perfect moment

1. Visualize the image 

“Think ahead and visualise your photo days ahead of time and circle back to those visualisations at the end of the day. Compare those visualisations to what you captured. Boom! You’re developing your mind’s eye.”

2. Speed up workflow

“I use a few custom button functions to make my workflow easier. I use back button focus which helps a lot when shooting high-speed sports. It allows me to be more reactionary to constantly changing subjects. I also have assigned a custom button on the back that resets the focus point back to the centre of the viewfinder.”

3. Embrace the unexpected

“Selecting an aperture of f/8 helps to keep the action sharp within the frame. Indeed, the popular saying ‘f/8 and be there’ still holds up. Don’t be overly concerned by the tech and technique, instead, pay close attention to where you are and who or what you are photographing.”

4. Follow a one-shot mentality

“When shooting athletes with strobes, I never shoot in burst mode. This is partially because when I shoot with a PhaseOne system, there is no option for burst mode, so I have to take my images one shot at a time. Athletes can only repeat their performance for so long, so I really have to nail it first time. Even when shooting athletes with the Canon R5 and a strobe, I still like shooting with the one-shot mentality. It keeps myself, the athlete and my client focused on what we really want, rather than just spraying the camera and hoping I get something.”

Sony has announced a 247-megapixel medium-format sensor named IMX811-AAQR, sparking plenty of rumors and debate. 

Sony's announcement has caused quite a stir with many hoping to see a Sony medium format camera. With 247 effective megapixels producing a groundbreaking resolution of 19,200 x 12,800 (3:2), it would certainly top the list of the highest-resolution cameras, however, the truth might not be as exciting. 

In its announcement, Sony states that the sensor is intended for 'industrial use' and it is not listed under those available for consumer equipment. This may mean the sensor is designed for specialist scientific imaging instead of consumer photography or cine cameras. That being said, some of the medium format sensors used in today's best medium format cameras were also originally listed for industrial use, so, could a new Sony medium format camera be on the horizon?

Sony's announcement, which can be found on the official website, lists many sensor specifications which include a rolling shutter function, type 4.1 CMOS active pixel dot types, back-illuminated sensor type, a diagonal image size of 64.84mm, a maximum frame rate of 12.4/s at 12 bit, 10.5/s at 14 bit, and 5.3/s at 16 bit. There is also a monochrome version of the sensor named IMX811-AAMR.

There is no doubt that this sensor will be attached to an imaging device capable of capturing some of the highest-resolution images on the planet, and while it is fun to dream, I do not believe Sony will be making a Sony medium-format camera. What I can believe, however, is that Sony has created a new super sensor which will suit either a new Phase One or Hasselblad medium format camera.

From camera phones to automobiles Sony's sensor technology is used by many different brands due to its excellent resolution and low-light performance, two of which are medium format giants Hasselblad and Phase One. The Hasselblad H series has not seen a new model since 2018 with the release of the Hasselblad H6D-400C, a camera capable of capturing 400-megapixel multi-shot images, thanks to a 100-megapixel Sony sensor.

Phase One also utilizes Sony sensors in its XF and XC cameras, medium format cameras capable of capturing exquisite photography with extremely high-resolution images with price tags to match.

Although it is fun to speculate about new super-megapixel consumer cameras, all we know for certain is that the sensor exists. We will have to wait and see if it eventually appears in anything other than specialist equipment.

On top of making some of the industry's best imaging sensors, Sony also creates some of the best mirrorless cameras, Sony lenses, and Sony cameras. 

The Phase One XC is a remarkable handheld medium format camera capable of breathtaking 150MP medium format quality either in full color or true black and white, thanks to its choice of IQ4 regular and ‘Achromatic’ digital backs. But if you already shoot with Phase One gear, the XC has previously been an expensive addition because you end up getting another digital back when you’ve got one (or more) already.

Not any more. Phase One is now selling the XC camera body-only. That doesn’t mean quite the same thing as it does with regular cameras, though. The XC ‘body’ actually consists of the camera itself and an integrated Rodenstock HR Digaron-S 23mm F/5.6 wide-angle prime. The lens doesn’t detach, but this camera’s digital back does.

On modular medium format cameras like this, the digital back handles all the image capture, houses most of the controls and has the LCD display. It’s an expensive part of this camera kit, and the XC camera uses the same IQ4 digital backs as Phase One’s other medium format models, so having to buy another one just to get the portable XC camera might put existing owners off.

What’s so special about the Phase One XC?

Phase One effectively makes three cameras, all using the same IQ4 digital backs. The XF range is big and bulky and aimed mainly at studio use with a range of Schneider-Kreuznach lenses, the XT is a portable ‘landscape’ camera that takes a different range of Rodenstock lenses, and the XC is a slimmed-down fixed-lens variant designed for handheld shooting.

The Phase One XC is no larger than a fully kitted out full frame mirrorless camera, but offers a ‘full frame’ medium format sensor equivalent in size to the old 645 film format, so significantly larger than the sensors in the Hasselblad X2D 100c and Fujifilm GFX 100 II, for example, two of the best medium format cameras on the market. The fixed Digaron-S 23mm F/5.6 lens is equivalent to around 15.5mm in full frame camera terms.

It is expensive – around $62,000 in the US and £58,000 in the UK. However, a very large part of this cost is the IQ4 digital back.

So appealing as the XC is, the prospect of paying for another digital back (these cost $50K on their own!) has not been very appealing if you have one already. 

But if you’re not paying for another back, just the XC body and integrated lens, that makes a massive difference in the price, and the new 'stand-alone' XC version will cost just $20,290 (about £16,000 / AU$31,000). That's still a lot of money by regular camera standards, but around one-third the price of the full XC kit with back.

For first-time Phase One buyers this is unlikely to make a difference since you’ll need to get the digital back anyway, but for existing Phase One XF or XT users, this new option could change the Phase One XC from an expensive addition to a camera bag essential!

Since last November, Rankin has been shooting portraits in a pop-up studio on London’s iconic Carnaby Street. 

This latest RankinLive event closes on Sunday (January 7), but we’ve been behind the scenes of one of the shoots to see the leading British photographer and cultural provocateur at work. 

Here’s what happens at the event: participants get a 15-minute photo session with Rankin – either on their own or with a loved one. 

For £500, the sitters see real-time image reviews, get a digital “green tag” file PDF, an authenticated A4 inkjet print of the chosen image delivered to a UK address, and a digital file of the chosen image for personal digital use. 

Some walk-in slots are still available, but to be certain of getting a place make a booking here. 

RankinLive, 47 Carnaby Street, London W1F 9PT. Opening hours are Monday-Saturday: 10am-7pm; Sunday: 11am-6pm. 

Behind the scenes of RankinLive Carnaby Street 

For someone who has photographed so many of the world’s best-known people, Rankin feels that his RankinLive events are the most ambitious of his many projects. 

The premise is simple: the photographer turns his lens on members of the public, something he has enjoyed doing since 2009. And being based in a pop-up shop in the heart of London’s West End, the latest RankinLive couldn’t really have asked for a better location. 

When Digital Camera World pays a visit, on a busy Saturday morning before Christmas, Rankin is really enjoying himself, bonding with his subjects in the brief time they get with each other, while his team bustles around the retail unit with various items of photo equipment to hand. 

You can feel the creative energy that’s bouncing off the walls, while puzzled passers-by stop to peer through the windows, wondering what on earth is going on inside. 

Sarah Taylor has just had her portrait taken; she’s a fan of Rankin’s portraiture and has travelled from Berkshire in England specially for the occasion. Grabbing some time with Rankin afterwards, I ask him how this particular RankinLive came about. 

“We stopped doing it during Covid and brought it back afterwards, with a couple of art shows, the Other Art Fair and the Art Car Boot Fair,” he says. 

“But we wanted to do a RankinLive in a store so asked our Instagram followers if they’d be interested. We got so many sign-ups, we thought ‘OK’, and the people who run Carnaby Street offered us this – it’s a great location.” 

Up to 250 photo sessions will have taken place by the time the event finishes. And while Rankin won’t be photographing all of the sessions – his assistants will be deputising for him when he’s not around – he is hoping to do as many of them as possible. 

As some walk-in time slots for RankinLive Carnaby Street have been available, two of his team are busy drumming up interest from the shoppers outside.

Rankin’s next subject has arrived and he is called away to greet her. Clare Sutcliffe is dressed for the occasion, wearing a leather jacket with distinctive floral prints. After a quick chat, she takes her position in front of the plain white background and Rankin and his team gather around. 

Shooting on a Hasselblad medium format with a Phase One digital back, and tethered to Capture One Pro software, the photos are pushed to a computer in real-time. This workflow is de rigueur for pro studio shoots and allows instant image feedback; it is Rankin’s preferred way of shooting portraits. 

“Even when I shot King Charles recently, I did the same – he chose the pictures [he liked]. I find that people generally choose the best pictures of themselves, so I don’t really worry about interfering too much. 

“Sometimes they want my opinion, which I’m obviously up for giving, but I’m very happy when people choose six pictures and then pick their favourite one.” 

For Rankin, photographing his subjects is something he feels – rather than it being technical. Participants are photographed against the same background – only the lighting, handheld and directed by an assistant, with reflectors used to bounce light back onto the subject as required, changes from session to session.

Checking in for the next time slot, a couple has walked into the shop. Rankin opts to photograph them with the man sitting on a stool with his partner embracing him from behind. Afterwards, I ask why he decided to use that particular composition. 

“I am quite directional, so when they come in, I’m already looking at them, trying to work out how I’m going to light them, how I’m going to direct them. 

“Some people are coming in for memorial moments, or they’re coming to have a photograph taken to remember a particular point in their lives. 

“What’s amazing about photography for me, is that it is also about memories, and I think as a professional photographer you tend to forget that – it becomes more of a product. 

“For example, the couple I’ve just photographed chose a photo that’s more like a Rankin picture. But three of the other photos I took are the ones that they’ll probably be calling me up in five years’ time to get prints of.” 

So you decided on those compositions and how to approach the shoot because of the feeling you had about the couple? 

“Yes, I could see they were really into each other, so I was doing similar compositions and shots each time. People criticise photographers for doing that, but I just want them to walk away having a picture that they really like.” 

And Rankin is certainly achieving that objective today. Before she leaves, I ask Sarah Taylor how she chose her favourite picture to take away. 

“It’s just one that looks the most like how I see myself – obviously, in the best possible way!” she laughs. 

“It’s the one that I feel looks the most like me. I’m actually smiling in it as well, which is lovely. Rankin immediately put me in the right positions and got the best photos, and the whole experience has been wonderful.”

Whether photographing the great and good, or members of the public, Rankin approaches them all in the same way. What has really come across today is his deep love of photography and taking pictures. 

“I’m never happier than when I’ve got a camera in my hand, so I always feel like I’m privileged to do what I do,” he enthuses. 

“And to still be doing it after 30-odd years is really special because a lot of people haven’t got jobs in photography any more because of the advent of camera phones – I never take what I’m doing lightly. 

“Also, I’m always trying to get a great picture, so I want people to walk away feeling, ‘Oh yeah, I’ve got a great picture’. That’s what’s important, so if people feel that, then it’s a really good buzz.” 

Rankin’s camera kit for pop-up portraits

Hasselblad H6X

“I was born as a photographer on a Mamiya RZ, and the RB67,” says Rankin, “so the Hasselblad is the closest I’ve got to that.” 

Phase One IQ3 digital back

“With today’s digital backs, you can go two stops over or under and it doesn’t really matter anymore. It used to really matter.” 

Hasselblad HC 3,5/50 II

Equivalent to a 35mm lens in full-frame terms, this H-system lens is billed by Hasselblad as the classic lens for reportage. 

Hasselblad HC 2,8/80

The standard lens for the H-system (55mm in full-frame terms), with a large aperture for working in low-light conditions. 

Profoto B10 studio flash and OCF beauty dish 

Portable 250W head fired via a remote trigger and powered by a mains studio pack, used with a Profoto OCF Beauty Dish White 2’.

Apple Mac Studio 

Powerhouse computer for creative professional applications, tethered to the Phase One digital back via a Tether Tools cable.

Eizo ColorEdge monitor 

One of the best-known names in computer monitor production, ColorEdge screens have a colour calibration system built in.

Capture One Pro 2023 

“I love shooting to Capture One,” says Rankin. “It really suits me and how I work.” The pro solution for tethered image capture.

RankinLive is taking place now at 47 Carnaby Street, London W1F 9PT. 

Click here to visit the RankinLive booking page.

Take a look at the best cameras for portraits, along with these portrait photography tips, to get the most out of your portraiture. 

Check out the best lens for portrait photography and browse a range of super-sharp 85mm prime lenses.

Get a portrait done, bag some merch

As well as being able to have your photo taken, a RankinLive event is also an opportunity for fans to pick up prints and other merchandise – all available under the umbrella of Rankin Swag. 

“We’ve never really done T-shirts before and we’re doing some now,” says Rankin. 

“Obviously, we’ve got some posters and some prints, too. We haven’t gone crazy on the prints here, though, because it’s not really the price point. 

“Collectors spend lots and lots of money on them – the prints here at Carnaby Street are all much more affordable, almost like a starter price.” 

Read more: the full version of this article appears in the February 2024 issue of Digital Camera magazine, on sale now. 

Why not subscribe to Digital Camera magazine and get the magazine delivered to your door every month? Choose between a print or digital subscription, or a bundle of the two. 

Costing $62,500 / £60,000, the Phase One XT is a rare beast of a medium-format camera, that most of us can only dream of being able to afford. But for professional architectural and landscape photographers it has been the high-end technical field camera of choice, with its elegant Danish engineering and its exacting 150-megapixel digital back. 

And now users have a new lens to use with it - the Rodenstock 70mm XT Tilt HR Digaron-W f/5.6. This will be the fourth for this camera system, that was first introduced in 2019. 

Adapted from an existing Rodenstock lens, the new lens offers a standard angle of view, and provides 5° of tilt, and 12° of shift when coupled with the Phase One XT. It offers an image circle of 100mm, and provides an equivalent focal length to a full-frame 45mm lens. 

Existing tilt-shift lenses in the XT range are the XT 32mm f/4.0 Tilt, XT 40mm f/4.0 Tilt and the  XT 50mm f/4.0 Tilt wideangles.

The 70mm Tilt goes on sale next week and is expected to cost in the region of $10,000/£10,000.

Hasselblad, still the gold standard in premium photography to many people, has registered a new 100MP medium format camera back.

It's not often that Hasselblad is the subject of camera rumors, but word has leaked online that the Hasselblad CFV 100C has been registered overseas – which would replace the almost five-year-old CFV II 50C back that sits at the heart of the Hasselblad 907X 50C package.

For those unfamiliar with the term, a camera back is part of the traditional modular camera setup still supported by the Hasselblad V System. In days of old, a film back would be attached to a medium format film camera; this has now been replaced by a digital camera back, containing a medium format image sensor. 

So, while the Hasselblad X1D II 50C was a conventional mirrorless camera with an integrated sensor and body, the 907X 50C featured a modular "camera" (the 907X itself, which was essentially an interface between the back and the new X System mirrorless lenses) and a separate back (the CFV II 50C) containing the same sensor as the X1D II. The back can also attach to old film cameras, to bring iconic bodies like the Hasselblad 500CM back to life. 

To help visualize, here's an animation showing each component of the 907X setup:

Since then, the company has since released the mighty Hasselblad X2D 100C – a 100MP medium format marvel. So the development of a Hasselblad CFV 100C camera back (containing the same 100MP sensor) comes as little surprise, again enabling you to update your 907X, 500CM or any other modular body. 

The news was reported by Photo Rumors, noting that the camera back has been registered in Asia. 

Perhaps corroboratively, the latest iteration of the camera and 50MP back – the Hasselblad 907X Anniversary Edition Kit – is currently discounted by $3,460, suggesting that retailers are clearing inventory of the old model before the new one's arrival. 

With no details on a release date for the new back, now would be a fantastic time to invest in that glorious package (pictured below). 

Take a look at the best Hasselblad cameras and the best Hasselblad lenses to use with them. For serious pixel power from other manufacturers, check out the best medium format cameras from the likes of Fujifilm and Phase One.

Phase One, known for high-res medium format cameras, has announced a drone-specific camera – the P5 – intended for survey work from lightweight unmanned aerial vehicles (UAVs).

The Phase One P5 weighs in at 700g, making it suited to survey drones, but it packs 128MP. By contrast a typical 100MP medium format camera, the Hasselblad X2D 100C, clocks in at 895g with its battery before you add a lens. The 150MP Phase One XC weighs a hulking 1,820g including integrated optic.

Phase One has stripped away all the 'extras', like buttons and a viewfinder, since the camera will be controlled via software. If this seems a little familiar, it wasn't that long ago we were reporting on the Sony ILX-LR1, a small, light full-frame camera, also built with aerial work and other remotely-controlled operations in mind – but the Sony still has some buttons and is 'only' full-frame.

Phase One's video (above) shows how the company collaborated with Quantum Systems and Trimble. Quantum Systems produces a drone that takes off in vertical style before switching to a more efficient fixed-wing design, well suited to surveying, called the Trinity Pro. 

Trimble is a software and hardware supplier with a focus on mapping, and its Inpho Suite is what will be converting the whopping RAW files into useful digital maps using photogrammetry (surveying).

To get the best results in photogrammetry, the operator will aim for a low GSD (ground sample distance) – which Phase One promises the P5 can deliver without blur. The higher resolution means that the drone can operate more efficiently, capturing a larger area than otherwise, which can have an exponential benefit in terms of flight time (especially when you factor in landings for battery changes).

That's why this is a specialized market, though: it is one where there is room to make a difference. The Trinity Pro flies at up to 50mph (22 m/s) and up to 120m (400ft), for around 2 hours 30 minutes. That's a lot of detail from a single flight.

The Phase One P5 can achieve this because it has an electronic global shutter (much like the recently announced Sony A9 III), negating the need for a mechanical shutter and still solving the rolling shutter issue – which meant that early drone surveyors previously had to fly a bit, stop, take the pic, and move on. 

"In the realm of specialized camera systems, the Phase One P5 has been meticulously crafted to address the shortcomings of conventional cameras for UAVs in terms of speed, weight, and data quality," says Phase One. 

"Purpose-built for aerial surveying via drone, the camera stands as the world’s pioneering solution, consistently delivering the highest resolution and accuracy, along with industry-standard metrical calibration."

If you're looking for a slightly more modest start in drone surveying, you can opt for a traditional camera drone. Take a look at the best Black Friday drone deals for a great bargain, and check out the best Black Friday camera deals across all imaging products.

If you have been using some of the best mirrorless cameras on the market or you have been using your old but gold DSLR camera and you're looking to upgrade to one of the best medium format camera as you simply have to own one of the highest resolution cameras out there to take your landscape photography to the next level or being is some incredible details for portraits.

Well in the early Black Friday camera deals you can now safe a massive $800 off either the Fujifilm GFX 50S II or the Fujifilm GFX100S over at Adorama.

Let's start with the 'smaller' megapixel cameras of the two, the Fujifilm GFX 50S II.  This stunning 50-megapixel medium format camera is a photographer's dream camera, compact so easy to take on many hiking adventures in search of that amazing landscape image while packing the best image quality currently on the market. While it still costs $3,199 at Adorama - that's an impressive $800 off which makes this already 'affordable' medium format camera even more accessible. 

Now if you simply want the best of the best, with quality and resolution then 100 megapixels is a MUST for anyone wanting to pull the most amount of detail from their images, and yet again Adorama is offering you $800 off retail, but with increased specs means a bit more moolah to spend - this time $5,199 - but it is totally worth it!

While most will look at these prices in disbelief that we are calling these cameras "affordable" - but in a market were these types of cameras are shooting high-end fashion shoots and other cameras from the likes of Hasselblad or Phase One cost TWICE as much, these two medium format offerings from Fujifilm really are worth every penny!

Over the last few weeks we have been hearing more and more rumors about a successor to the Fujifilm GFX 100 – the trendsetter for Fujifilm's foray into the high-resolution digital medium format market. 

Now we're hearing that the follow-up to the Fujifilm GFX 100 will have a brand new image sensor. But does that simply mean a better version of the same 102MP sensor, or a sensor with even more resolution – maybe even 150MP?

The original was praised by many for its sensor, form factor and even price. In our review we called it "a groundbreaking camera that changes our expectations about what medium format cameras can do."

So, it's safe to say we loved this camera at DCW – in fact, it's a camera I always wanted to get my hands on. I loved its form factor and everything it stood for, though others hated the fact it was so big and bulky (clearly never having used traditional medium format cameras!).

However, recent reports from Fuji Rumors suggest that there could be a new Fujifilm GFX100 coming to the market in the same form factor – just with a few tweaks here and there. For instance, the integrated grip seen on the GFX100 could be removable on the next generations, solving the squabbles from those wanting all the power, but not the size. 

Another rumor suggests that we could see it ship with the tilting and detachable EVF that was loved by many, and removed on the Fujifilm GFX 100S. But the biggest rumor to date is that the new Fujifilm GFX100 will feature a brand new sensor, and will not use the same sensor from the Fujifilm GFX100S. 

"According to our trusted sources, the Fujifilm GFX100 replacement will not use the sensor currently in use on the GFX100 and GFX100S. That’s 100% sure, super-trusted and rocksolid," reported Fuji Rumors. 

So what does this mean? Well, I am a big believer in pushing the boundaries – and having used a few medium format cameras in my time, I think it's about time we saw a 150MP sensor to rival that from the likes of the Phase One's XF 150MP.

While the Phase One sensor is actually larger than medium format, and the GFX sensors are slightly smaller, it would be great nonetheless to see a camera company once again rival those of the medium format gods – and I think a Fujifilm GFX 150 would do just that!

And you really want me to blow the floor of this house off? I think it will have a 600MP multi-shot mode, too. There, that's what I want from the Fujifilm GFX100 successor – what are you hoping for?

See how a GFX 100 successor would stack up against the best medium format cameras – but it's not all about going large! Many of the best Fujifilm cameras feature APS-C sensors, too. 

Phase One has announced the new Phase One XC Camera, which has been purpose-built for travel photographers who demand the finest in image quality. Designed with convenience in mind, the XC is Phase One’s most compact digitally integrated camera to come to market along with an integrated lens design. You can carry the camera anywhere to capture anything at any time, recording inspiration as it strikes.

Phase One, one of the leading names in providing the best medium format cameras dropped a teaser of this new camera just over 24 hours ago and I think this will be a big hit for landscape and travel photographers.

This was accompanied by a video that saw a photographer Thomas Biasotto go out on an adventure with a small tripod and travel bag, walking around the area and then observing prints of this work from that day, highlighting how this new camera will be easy to travel with or by spontaneous with.

Drew Altdoerffer, VP of Digitization, Phase One had this to say on the announcement:  “We’ve designed the XC camera to be a companion camera, with its compact size, operational simplicity, and super wide angle of view, the XC Camera can be always by your side and at the ready.” 

The new XC Camera combines Phase One’s IQ4 150MP power and performance digital backs with a new and first-time fully integrated Rodenstock HR Digaron-S 23mm f/5.6 lens all as one package.

The XC prioritizes unparalleled image quality in a simplified and compact design that is conveniently sized and remarkably intuitive to use. Crafted for straightforward operation, the Phase One XC frees the photographer to focus on capturing the moment, and less on camera settings.

Professional photographer Thomas Biasotto, says: “The compelling thing about the XC is that all I have to do is reach into my equipment rack and pack it into the smallest of bags, and I'm ready for any photographic adventure".

On inspecting the image of the camera for myself, it looks to be aimed at being the direct competition to the Hasselblad 907X 50C based on its appearance. It will be 105mm hight, 160mm long, and will weigh 1,820g - which indicates that you have to buy this as a package deal, to include the new body, integrated lens along with a Phase One IQ4 digital back of your choosing, either the existing IQ4 150MP or the 150-megapixel Archromatic back.

The XC Camera is available now in limited quantities through Phase One Partners worldwide. The suggested retail price for the new Phase One XC Camera is US$62,490 (approximately £49,109 / AU$93,422). It is sold with a 5-year limited warranty, including unlimited lens actuations for the warranty period.

While this camera does look appealing, it will be interesting to soo how its loyal fanbase receiving this new camera, Phase One has been known to produce exceptional cameras, and quite frankly the market leader in high-resolution medium format cameras, but the cameras they produce are usually of a grand scale and are massive in the hard, and quite weighty. 

All of the above isn't an issue if you're a studio photographer, but weight becomes a slight problem when you're a landscape photographer transporting gear on location or you love to capture moments in life in an instant, but this new Phase One XC camera could be the camera that could allow more take up on Phase One systems for the compact design and high image output of such a camera. 

• Phase One XF IQ4 150MP camera review
• Phase One XT Camera System hands on review
• The best medium format camera
• Best Hasselblad cameras

Last week, I pondered the existence of cameras that only capture images in black-and-white – and asked who actually purchases them. Well, you folks certainly had some responses to that.

Famously, Leica specializes in these cameras – with the new Leica M11 Monochrom being its latest, $9,000 mono body. Almost concurrently, Ricoh dropped the Pentax K-3 Mark III Monochrome at $2,200. And they're not alone; everyone from Phase One to Red to Ilford makes black-and-white cameras of some variety, costing all the way up to $50,000. 

So, who buys these kinds of cameras for these kinds of price tags? 

A reader called Henry didn't actually say that they'd bought one, but wasn't shy about the reasons somebody might.

"Seriously? Are you trolling or are you honestly ignorant?  Monochrome cameras do not use a Bayer filter. Shooting through a Bayer filter is like looking through a pasta colander where MOST of the information is hidden behind the color filters.  Removing the filter instantly increases the native resolution by a factor 4x.  'Converting' color digital images to black and white requires that the computer simply invent 75% of the pixel values rather than looking through the lens.

"It's the same as asking, 'Why would anyone buy a 100MP camera when you can simply enlarge the image in a photo editor to the resolution you want?' e.g. take a 36mp image and scale it up in Photoshop to 100mp. Same thing."

One person who does own one is Justin Aharoni, who spent $7,000 on the Leica Q2 Monochrom. "The decision wasn’t without some understanding of camera technology and conversations with my better half about the investment we were about to make. Like yourself she rightfully questioned the very idea of a different and more expensive device to do the same theoretical job.

"I agree with you on a practical level that majority of camera buyers are good with monochrome simulation or black-and-white conversion. I don’t think Leica was ever intended for the casual buyer, but creatives are increasingly able to generate wild amounts of revenue and are buying Leica for the status which I think is adding to the confusion of why all these people are buying them. Feels like this influx is happening rapidly."

Justin was kind enough to share what he has learned and experienced since using his Q2. "Cameras that produce color actually have a filter on the sensor that converts light to color, in short. Without them the sensor is only capturing luminosity, true monochrome. 

"When converting a color image to black and white you have to adjust the individual color channels in order to get the blending in the grey gradients to really blend. Is it necessary for most applications, absolutely not. But there is a subtle difference when capturing luminosity, the image has a different feel and depth to it that is almost tangible."

He also added that he's learned to "see" scenes and visualize light differently. This jibes with Bill Mosca, who likens the mono cameras to shooting with mono film. "With b/w film, when I make an exposure, I'm fully committed to a monochrome image.

"This forces me to see and think in b/w in a way that digital color can't. Somewhere in the back of my mind I'm thinking 'I could make a color image from this exposure.' That said, a deep b/w mindset isn't worth the $9K or even $2.5K price tag."

I'm of the same mind. It's rare that I perform a color conversion; I always have an intention to shoot mono images, such as those above and below, and I will set my camera to mono mode so that I can visualize the scene that way. 

In fact, while I won't go quite as far as buying a black-and-white camera, I do tend to use a specific camera if I'm planning to shoot black-and-white images: the Olympus PEN-F (pictured below) with its glorious Tri-X-like monochrome mode. 

Still, it's fascinating to hear from someone like Justin on the difference that these cameras have made to the way he shoots and understands images. Make sure to check out his work on his website and his Instagram.

If you enjoyed this article, you might be interested in how to shoot the best black and white photography. For post-production, here's how to convert a black-and-white image in Photoshop, as well as how to print professional black-and-white photos. 

Fancy getting ridiculous resolution for an even more ridiculous price? A 489MP camera can be yours for the price of a good memory card, if you put it together yourself.

There is a lot of competition out there for the highest resolution cameras, with some of the best medium format camera giants like Hassleblad, Phase One and Fujifilm waging a constant battle for megapixel supremacy. 

If you thought that recent medium format cameras like the Fujifilm GFX 50S II and Fujifilm GFX 100S offer a lot of megapixels for a competitive price, then think again: there is a new DIY camera from YouTuber, photographer, and inventor Yunus Zenichowski that can be made for just $150.

You can check out Yunus' video for his DIY $150 camera below:

Okay, before you rush off to grab your tools, there are a lot of caveats that will stop this creation from being a true competitor to real cameras – with the first being that you will need your own 3D printer, so if you don't already own one it blows the $150 budget out of the water.

The DIY camera also doesn't use any sort of traditional camera sensor, and is instead made using a sensor from an Epson V35 flatbed document scanner – and this has some pretty significant drawbacks in terms of exposure time. For those who are familiar with document scanning, it is not a quick process. So when using it for imaging, any slight movements in the scene will cause blurring, distortion and ghosting – potentially spoiling the resulting image.

The camera is built with a projector lens, rather than a traditional camera lens, which keeps the costs to a minimum (with Yunus picking up his projector lenses for around $40 apiece) – though the creator does claim that the build could be completed with other lenses with a bit of modification.

The resulting images that can be seen in the video are very interesting, but they are not going to rival any of the best mirrorless cameras for image quality. Most likely due to the projector lens used, the images have a very vintage look to them – which might suit artists looking for that particular style for creative work, but won't cut it for modern photographers looking for sharp and accurate shots.

For those keen engineers (with a 3D printer) that want to try out making this megapixel monster, you can find the CAD designs that Yunus has generously provided. 

Has this got you feeling creative? Check out some more great DIY ideas like how to turn a cardboard box into a speedlight softbox, or how to turn a tiny glint of light into an abstract masterpiece. 

Back when I was shooting 35mm film, I flirted with medium format for quite a while before buying a secondhand Hasselblad 500C/M and, a bit later, adding the motorized 500EL/M to my kit. I was mostly shooting 35mm Kodachrome 64, so I’m not really sure why I thought I might needed medium format, but the mantra then was bigger is better. 

As it happens, I only ended up using the ’Blads on a couple of jobs, then decided they weren’t worth the bother, although I went on using them for a long time to shoot landscapes for my personal work. Here the slowness and greater involvement were good things... although whether 120 rollfilm Ektachrome or Fujichrome 100 delivered a far better image quality than 35mm K64 – given the latter film’s unique structure – is debatable.

Fast forward to today and there is again the lure of medium format cameras, courtesy of the mirrorless systems from Hasselblad and Fujifilm, plus the DSLRs from Leica and Pentax. 

Of course, there’s also Phase One’s XF and the eye-wateringly expensive IQ4 series capture backs, but this really is a professional system and it’s very hard for any amateur – beyond those with very deep pockets – to justify the cost when there’s much more affordable alternatives. 

The Pentax 645Z is still excellent value for money – as were its rollfilm forebears – but there’s now competition from Fujifilm with its mirrorless GFX models which all come in at under $6,000/£5,000/AU$10,000... even the 102MP GFX 100S. 

The 51.4MP GFX 50S II is currently priced at around $3,999/£4,499/AU$6,999 with a lens, the compact GF 35-70mm zoom (equivalent to 28-55mm). Lenses are a major consideration when contemplating jumping up to medium format – always have been – because they’re typically quite pricey due to the need to cover a wider imaging circle, and the systems are much smaller than those for full frame or the cropped sensors.

But digital medium format, especially the mirrorless cameras, has changed some things. Fujifilm’s GFX cameras, for example, pretty much have the same feature sets and capabilities as the higher-end X-mount APS-C models, so we’re no longer talking slow and clunky in terms of how they operate. Likewise, Hasselblad’s X- series camera, especially with the improvements made to the X1D II 50C and the recently-arrived X2D 100C.

The ‘medium format’ sensor size we’re mostly talking about here is close to 33x44mm in area (the Leica S3’s is slightly different, but still essentially the same size, while Phase One’s is bigger again and closer to the old 6x4.5mm film format) which is around 1.7x larger than full frame. 

The big deal about a big sensor is the bigger pixels, especially at a resolution of 50MP, but they will be pretty much the same size at 100MP compared to, say, a full-frame sensor at 61MP, as in the Sony A7R IV... 3.75 microns versus 3.76. 

Bigger pixels mean increased sensitivity, a higher signal-to-noise ratio and a wider dynamic range which translates into less noise overall and better high ISO performance in particular. Then there are the benefits of the higher resolution – including the potential for cropping without significant loss of image quality – and the fact that the bigger the sensor, the shallower the depth of field.

Can you notice a difference? Frankly, I think you can, although my rather nebulous description is the “medium format look”. This is, however, more concretely related to the particular combination of definition and depth. With medium format photography more accessible than ever, I believe there’s a stronger argument for thinking bigger than was ever the case with 120 rollfilm. It is better.

Medium format film cameras: a complete history

Best Hasselblad cameras

Best Fujifilm GF lenses

Best Hasselblad lenses

I was happy until I started really thinking about digital camera sensors. From full-frame mirrorless cameras to APS-C compact cameras, I opened pandora's box, and what was inside... I did not like it. I write about cameras all day, and many reading this will be able to just switch off and think, 'hey, this doesn’t actually matter' – and I envy you.

Camera sensor sizes are a chaotic mess of names and numbers based on minor precedents set by film types and formats from decades ago. With digital cameras, you would think this was a chance to have a rebirth, reset the system and create a universal sensor-size utopia. No, instead camera makers doubled down on the naming pandemonium, leaving us with our current disarray.

Full Frame

Full frame cameras are the standard sensor for modern professionals. Full frame is obviously the full amount of a frame, a frame of course being an arbitrary concept measuring any size, and naturally, all other digital sensors will also cover the full amount of their differing sizes of 'frames'. But let's put the historical naming anomaly aside.

Most people know 'full-frame' as 35mm, down to it being 35mm on the long edge. This matches the popular 135 film type developed by Kodak that dominated photography for the best part of a century.

It makes sense. An image is 35mm on the long edge. It is easy to understand how large it is, well for most of the metric world, (America and Liberia, you might have to consult a ruler) but 35mm just makes sense!

Oh, wait, what, full-frame is actually 36mm? Oh no, here we go…

Medium Format

We all know that a medium format camera has a larger sensor than a full frame, because obviously, a medium is bigger than a full. And it's quite clear how big medium format is, it's erm, medium-sized.

Turns out medium format digital sensors cover a range of sizes, basically anything bigger than full-frame, and why not, standardization is for the weak. Well that is typical for anyone who knows the varying sizes of medium format film, right? Well not really. To add confusion, no medium format digital sensors are currently the actual historical size of medium format 120 films, which had a fixed edge of 6cm.

Phase One currently makes the largest medium format sensor at 53.7 × 40.4mm, which they very much call a medium format sensor, whilst Fujifilm makes a smaller medium format sensor at 43.8 × 32.9mm, which they refer to in marketing as large format, because of course they do. Large format is in fact from 102mmx127mm, so not quite Fujifilm, but nice try.

APS-C

Oh APS-C, doesn’t that catchy name tell you everything you need to know about its size? Oh what, it doesn’t? Well, it stands for Advanced Photo System – Classic, glad that is all cleared up. Fine. APS-C is based on a new film type developed in 1996 just as digital cameras became universally popular, so was pretty much never used by anyone.

• Upgrade your kit! Switching up from APS-C to a full frame camera...

But it lives on as a digital sensor size, kind of, I mean it varies between 20.7×13.8 mm to 28.7×19.1 mm, so that's quite a large margin of 8×5.3mm. So if this is actually one sensor size is up for debate right away. That margin is actually bigger than the entire sensor in an iPhone.

Most manufacturers have agreed on 23.5×15.6mm as the size for APS-C, however, Canon decided to make their APS-C sensors around 1mm smaller than everyone else. I give up.

What we do know is that APS-C is bigger than Micro four thirds and smaller than full frame. Okay, got that? Let's move on.

Micro Four Thirds

Okay, so the clue is in the name, right? Micro, it must be, you know, absolutely tiny? Well not really. It is still bigger than a lot of other sensors, but it is the smallest sensor you will find in a mainstream interchangeable lens camera today. But how big is it? Well doesn’t that top-heavy fraction clear it all up for you? It's four-thirds of, erm, something.

Well turns out it is four-thirds of an inch, or you know, one and one-third, or 1.33 inches, whatever you want to go with. And this measures the diagonal, not the frame edge like it should. Well except that it doesn’t, as a micro four-thirds camera sensor actually measure slightly less than four-thirds of an inch, because nothing matters anymore.

Micro four-thirds is a 4:3 ratio, so that's at least something. Not how we measure camera sensors, but it's something. A Micro four-thirds sensor for normal people is 18 mm×13.5 mm.

1 inch

Rejoice, some sanity has been brought back into the world. An honest to god easy to understand measurement, it might be in imperial units, but it's a forgivable oversight. A 1-inch sensor is, that's right, you guessed it, 1 inch! 

Oh no, but that is the diameter again, not the long edge like all film and most other camera sensors are measured. If it was 1 inch on its long edge, that would actually make it larger than APS-C. A 1-inch sensor really measures 13.2×8.8mm. 

Super 35

This one has a long history I can barely get into, but unsurprisingly if you have read this far, it does not actually measure 35 of anything. Photographers, you don’t have to worry about this one, but Super 35 sensors are used on popular cine cameras.

Super 35 got its name from a film by it using 35mm film, but actually didn’t use the whole film width, cropping off some of the long edge. So today we have the Super 35 digital sensor measuring in at 24.89 mm×18.66 mm. Which makes it slightly larger than an APS-C sensor but smaller than 35mm full-frame. Definitely not 35mm though.

Filmmaking cameras

I am not even going to attempt to explain the rest of the sensor sizes available to dedicated cinema cameras as I think I might explode, but this excellent visual guide from VMI might give you some idea of the mess before us.

I don’t know how sensor sizes became such a web of confusion. Maybe I am the only person who worries about this, or maybe it is just me up late at night, camera sensors taunting me. I don’t think there is any way out of this mess, so I better learn to make peace with it and move on with my life.

You can find out more with our guides to the best full frame cameras, the best APS-C cameras, and the best Micro Four Thirds cameras.

Correction: A previous version of this article mistated the size of large format film. We regret the error.

The Pentax 645Z was launched in 2014 - and back then it was noted for being the most affordable digital medium format camera you could buy. At launch its price was around $9,700 / £7,700 for a camera body and a 55mm lens – significantly lower than alternative options from Hasselblad, Phase One and Leica.

But a lot has changed in the intervening eight years, thanks in particular due to the launch of the Fujifilm GFX system - which now offers 50-megapixel and 100-megapixel models that can compete with the prices of full-frame cameras with much smaller sensors.

The Pentax 645Z has dropped in price significantly recently, to allow it to compete with the Fujifilm GFX 50S II - which, like the Pentax, offers a 50 megapixel sensor. But there is one fundamental difference between these two cameras. The Fujifilm is a mirrorless model, whilst the Pentax uses a traditional DSLR design.

There are lots of disadvantages of the reflex design - the camera is bigger (around 50% heavier than the GFX 50S), for starters, and it has a huge mirror that ricochets like a rifle every time you take a shot. 

But there are advantages too - as you don't have to look at a miniature LCD screen to see the subject - you look through the lens itself via a pentaprism. For some photographers, this is a big plus point. And the bigger size and noisy mirror, may be of little significance if your style of photography always means using a tripod (the Pentax, unlike the Fujifilm, is a camera you'd try to avoid using handheld). 

Image sensor: 51.4MP CMOS, 44 x 33mm

Lens mount: Pentax 645AF2

Crop factor: 0.79x

Viewfinder: Prism 98% coverage

ISO range: ISO 100–204,800

Autofocus: 27-point (25 cross-type)

Shutter speed: 1/4,000 to 30 sec, Bulb

Leaf shutter option: No

Max burst: 3fps

LCD screen: 3.2-inch, 1,037k, tilt

Flash sync speed: 1/125s

Stills quality modes: Raw, TIFF, JPEG

Video resolution: 1080p

Memory cards: 2 x SD/HC/XC

Dimensions (W x H x D):  156  x 117 mm x 123 mm

Weight: 1550g (with memory card and battery)

Features

Like the Pentax 645D that it replaced, the 645Z has a sensor that measures 43.8 x 32.8mm (168% the size of a 35mm frame). Sony makes the sensor (rather than Kodak), and the pixel count was boosted from 40 million to 51 million. The anti-aliasing filter is also omitted to boost detail resolution.

Pentax has coupled the sensor with its Prime III image engine, first seen in the Pentax K-3 APS-C-format SLR. This enables up to 10 raw images (or 30 large highest-quality JPEGs) to be shot at up to three frames per second. In addition, the maximum sensitivity setting is ISO 204,800, significantly higher than the ISO 6,400 maximum offered by other medium-format cameras. 

There’s also a tilting 3.2-inch 1,037k-dot LCD, which is capable of showing a Live View image, and Full HD movies may be recorded. Pentax has also given the 645Z the Safox 11 phase-detection autofocus (AF) system found in the K-3. This has 27 AF points, 25 of which are the more sensitive cross-type.

Build and handling

Pentax has used the same design and control layout for the 645Z as it did for the 645D. The body is covered liberally with controls that give a quick route to key features such as sensitivity, white balance, and exposure compensation. However, there’s only fairly limited scope to customize the use of these buttons.

The new camera has the same deep grip and, despite its large size and relatively heavy weight, it feels comfortable in the hand.

Considering the mass of control buttons, it’s remarkable that Pentax has found room for an additional portrait-orientation tripod mount on one side of the camera, as well as a huge top-panel info LCD. Features are plentiful as well. Live View is fully supported.

As the user interface is fairly similar to that of Pentax’s K-series cameras, it’s easy to get to grips with the 645Z. Even those who have never used a medium-format camera before will soon feel comfortable using it. That said, the menu looks dated.

As an SLR, the 645Z has a reflex mirror that lifts to allow an exposure to be made. Naturally this is quite a large unit and, while it’s not quite the door-slam of some medium-format DSLR models, you are certainly aware of its movements.

The LCD screen is clear and provides a detailed view, whether you’re composing using Live View mode or reviewing images. The fact that the screen tilts is especially useful when composing images on a tripod in the studio or when out shooting landscapes. It’s also helpful that the screen’s display can be set to rotate, to make it easier to read when you’re shooting in upright format.

Performance

The key advantage of having 51 million effective pixels on a medium-format sensor is that it’s possible to record lots of detail. Also, because those pixels are relatively large, they generate a strong signal, which means noise levels can be kept down. 

This is immediately apparent in the images from the 645Z – they have a huge amount of sharp detail and little noise at the low to mid-range sensitivity settings. Even at the highest sensitivity setting of ISO 204,800, noise is controlled comparatively well. There is some colored speckling visible, but detail appears to be better retained than in images from small-format SLRs with such settings. Stepping down to ISO 6,400 results in images that look significantly better, with plenty of detail, so using this setting is perfectly realistic.

As we have found with other Pentax SLRs, the 645Z’s Multi-segment metering system generally behaves well, but it is prone to underexposing when faced with bright subjects or when there are large bright areas in the scene.

The automatic white balance system also does a good job in a range of natural lighting conditions but, as is often the case, a custom white balance setting is a better bet in artificial light. In the Natural Custom Image setting, the 645Z generally delivers pleasant-looking images with natural colors.

While the 645Z’s AF system can’t compete with a high-end small-format SLR’s, it is pretty impressive considering the size and weight of the elements inside the compatible lenses. Even in quite low light, it homed in on its target decisively with little hunting, although it starts to struggle when subjects get close to the minimum distance.

Pentax 645Z: Sample images

Pentax 645Z: Lab results

For our lab data comparison, we compared the Pentax 645Z to to of its closest medium-format rivals: the Fujifilm GFX 50S II and Hasselblad X1D II 50C. But these days you don't need a medium format sensor to get around 50MP of resolving power. There are now several of 45+ megapixel full-frame mirrorless cameras to chose from, but since the 645Z is a DSLR, we've included the venerable Nikon D850 for comparison.

We test resolution using Imatest charts and software, and dynamic range and signal to noise ratio with DxO Analyzer.

Resolution (line widths/picture height):

The 645Z is a relatively old camera now, pre-dating even the aging D850 by three years. Consequently it can't quite match the more modern competition for ultimate resolving power, with both the Hasselblad and Fujifilm cameras capturing noticeably more fine detail throughout the tested sensitivity range.

Dynamic range (EV):

The Pentax starts off well, capturing excellent dynamic range at low ISOs. As the sensitivity ramps up, the 645Z falls slightly behind the Fujifilm and Hasselblad cameras, but the Pentax manages a class-leading performance at ISO 6400 and above.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

All three medium-format cameras are very closely matched when it comes to image clarity. Interestingly, despite having a lower pixel count than the other cameras, the D850's images are slightly noisier throughout the sensitivity range. This is to be expected though, as its smaller sensor packs in smaller individual photosites ('pixels'), which can in turn make them less light sensitive and more prone to generating image noise.

Pentax 645Z: Verdict

The Pentax 645Z is a solidly built camera, and weatherproofed, yet it’s pleasant to use hand-held. It’s not far off being a ‘point and shoot’ medium-format camera if you want it to behave in such a way – although the thud of the mirror means that this is best used on a tripod

The main aim of using a medium-format camera is to produce higher-quality images than is possible with a small-format camera, and the Pentax 645Z certainly delivers in this respect. Images have a good detail, and colors are generally natural yet vibrant straight from the camera. Depth of field can also be very limited, which is a potential shortcoming for landscape and macro photography. 

Despite its age, it still gives a reasonable account of itself in our lab tests - it doesn't have the resolving power of its 50-megapixel Fujifilm and Hasselblad rivals, but it does offer advantages in terms of dynamic range.

The Pentax 645Z lens range currently includes 16 lenses (see full list) - two more than currently on offer in the Fujifilm GF range.

Ultimately, the attraction of the Pentax will depend of the price. Recently (in late 2022) we have seen some amazing offers on this camera. But, unfortunately for the 645Z, the pricetag of the Fujifilm GFX 50S has also be reduced – and this more modern camera has to be the best option of the two for most would-be medium format users.

Read more:
Best medium format cameras
Best Pentax cameras

If you're looking to get seriously into making movies, you need the best camera for filmmaking. I’ve taken today’s leading filmmaking cameras into the field, testing build quality, performance, and video output to uncover the very best options available right now.

With everything from crisp 4K and 8K recording to in-body stabilization and fully articulating screens, these cameras deliver the features that truly matter when you’re out shooting. They unlock true creative scope, and can be outfitted with external mics, lights, and monitors for a complete production-ready rig. I've focused on 4K-capable mirrorless cameras with interchangeable lenses, as that's going to be the sweet spot for most filmmakers – if you think you might want a lightweight compact, our guide to the best cameras for vlogging will be more you speed.

My selection here ranges from high-end hybrids that excel equally at stills and video to cinema-first systems designed for filmmakers who live and breathe moving images.

Best camera for filmmaking: Quick list

The best filmmaking cameras 

Best overall

The Panasonic Lumix S1R II is exactly the refresh the flagship needed - elevating it once again to the top of the Lumix line with the highest resolution in the range and seriously pro-level video credentials. And when I say serious, I mean 14 stops of dynamic range in 8K, with 8K open gate video arriving soon via firmware.

With internal RAW, Apple ProRes, and a suite of professional codecs, and it’s clear this is built for serious hybrid shooters. Stabilisation also takes a leap forward, with up to 8 stops of compensation and Panasonic’s new cropless electronic IS for added versatility.

On the stills side, the upgrades are more subtle. There’s a new 44MP sensor - slightly down from the original S1R’s 47MP - but image quality is better balanced, with improved low-light performance and faster processing. Most notable, though, is speed: the old 9fps feels sluggish compared to the 40fps burst this one can fire via electronic shutter.

Best hybrid

In my view – and it's one shared by Gareth Bevan, our reviews editor – the Panasonic Lumix GH7 is the hybrid camera to beat. If you're looking for a lightweight and capable filmmaking camera that'll also do a great job taking photos, the Lumix GH7 is the one to choose.

Offering a huge abundance of internal video recording options, including ProRes RAW HQ at 5.7K 30p or 4K 60p, open-gate 10-bit 4:2:0 recording in 5.8K 30p or 5.7K 60p, C4K 120p 10-bit 4:2:0, C4K 60p 10-bit 4:2:2, and 240p in full HD (and that's just the topline specs), the Lumix GH7 can do basically anything. And, thanks to its built-in fan, its recording times are essentially unlimited, with no overheating issues. As long as you have card space and battery power, the Lumix GH7 will keep shooting.

Its stills performance is also first-rate, as befitting its status as a hybrid camera. In both shooting modes it benefits from powerful hybrid autofocus, using a combination of of phase detection, contrast-detection (CDAF), and depth-from-defocus (DFD) technology to achieve excellent speed and accuracy. It's not quite at the level of Canon or Sony, but it's still impressive, and a big leap forward from previous Panasonic cameras.

One of the most well-rounded cameras on the market, the Lumix GH7 is an ideal choice if filmmaking is just one of the strings to your bow.

Read our full Panasonic Lumix GH7 review

• Back to the top ⤴

Best cine

This is Canon's new cinema camera to beat. An incredibly fully featured option for videographers and filmmakers, this is the camera expressly designed to eat the lunch of Sony's FX series, and it does so. While the top-end resolution is 7K 60p, the headline feature grabbing most attention is the option for recording open-gate video, recording footage using the entirety of the 3:2 sensor.

This provides immense flexibility for cropping footage into different aspect ratios, from 16:9 cinematic for YouTube to 9:16 vertical for TikTok and Reels. It's the kind of workflow you need to plan around, as it produces huge amounts of drive-filling data, but its usefulness is unmatched.

The EOS C50 also offers what James described in our review as a 'slew' of essential filmmaking features – including internal RAW, waveforms and shutter angle. There are no built-in ND filters, which you might expect to see on a cine camera, but otherwise, the EOS C50 is incredibly fully featured.

As an alternative, you may want to consider the Sony FX2, which is a cheaper cine camera – however, its 4K 60p comes with a crop, and in our review Gareth noted some significant rolling shutter. If it meets your budget, the Canon EOS C50 is the superior choice.

Read our full Canon EOS C50 review

• Back to the top ⤴

Best value

The Nikon ZR heralds the beginning of a new era and a new line – Nikon's new 'Z Cinema' cameras, springing from Nikon's acquisition of high-end cinematography company Red. As such, the ZR blends the sleek design of Nikon's Z range of mirrorless camera with Red's renowned 'Color Science'. And since this is the first camera of a new range, it's priced aggressively, and offers some of the best value on the cinema market right now.

Recording 12-bit Raw video in an all-new R3D NE (Nikon Edition) format, the Nikon ZR offers immense flexibility. In our review, Adam was able to try out the gorgeous range of Red Picture Controls that users can apply to footage if they don't want to get bogged down in color processing, and he found that it was incredibly easy to give his images a dynamic, cinematic look. Of course, if you do want to get bogged down in color processing, you can – just be aware that processing R3D files requires a powerful computer.

The slimline design of the Nikon ZR makes it great for agile filmmaking, even if its slab-like form factor means it's better used in a rig than handheld, especially for long periods. But what really sets this camera apart from the competition is its price – while it's not the cheapest on offer, the price point is hard to believe considering the potential the ZR offers for producing truly professional-looking cinematic footage.

Read our full Nikon ZR review

• Back to the top ⤴

Best all-rounder

The Sony A7 IV is a significant upgrade from the A7 III, aimed at hybrid creators seeking professional-level performance. It boasts a new 33MP sensor for sharper, more detailed stills and enhanced AI-driven autofocus, delivering excellent tracking for both photography and videography. Its improved burst mode makes it perfect for capturing fast-moving subjects, whether in wildlife, sports, or action scenes.

For filmmakers, the A7 IV introduces 10-bit 4:2:2 internal recording, making Sony’s S-Log3 profile much more effective for precise color grading in post-production. It supports 4K video at up to 60fps in Super35 crop mode, while offering full-width 4K capture at lower frame rates—a notable improvement over the A7 III, which lacked 4K 60fps entirely. The camera also delivers excellent dynamic range and high-quality low-light performance, enhancing its versatility.

By combining high-resolution stills with advanced video capabilities, the Sony A7 IV stands out as a powerful, all-purpose full-frame camera for creators who want to excel in both photography and filmmaking.

Sony has since released the Sony A7 V – however, we found its video spec a little underwhelming compared to the competition. For now, the cheaper A7 IV makes more sense as an all-rounder for filmmaking.

See our full Sony A7 IV review and lab tests

• Back to the top ⤴

Best for 8K video

The original Canon EOS R5 represented a significant leap forward for Canon’s mirrorless camera lineup, blending cutting-edge technology with a refined design. However, while its 8K video was a headline feature, the camera was blighted by overheating issues that severely limited recording times, meaning it just wasn't really a suitable tool for a lot of professional workflows.

The EOS R5 Mark II makes fixing this issue its first priority, sporting redesigned internals with individual graphite sheets for the sensor and card slot boards to dissipate heat to the exterior, and a passive cooling system that can be upgraded to an active one via an optional external cooling fan grip. The end result is that recording times are much improved, with 4K 60p Long GOP able to be recording indefinitely.

Of course, what sets the EOS R5 Mark II apart from other cameras on this list is its ability to shoot in 8K – specifically 8K DCI Lite RAW at up to 60p. It's also significantly integrated into the Cinema EOS system, offering Canon Log 2 and 3 with Canon 709/BT.709 Std, PQ/HLG and HDR movie mode. There's also finally a full-size HDMI port and a tally lamp.

The biggest obstacle for many will be the cost. The Canon EOS R5 Mark II comes with a premium price tag, and when you factor in the cost of Canon RF lenses, building a complete setup can run into thousands of dollars. Despite this, for those who can invest, the EOS R5 Mark II offers an unparalleled combination of stills and video performance, making it a standout choice for professionals who want the best of both worlds.

See our full Canon EOS R5 Mark II review

• Back to the top ⤴

Best box camera

For serious video shooters, the Panasonic Lumix BSH1 boxcam can make a lot of sense as it can be rigged up for a multitude of different uses. It features a 24.2-megapixel full-frame sensor with Dual Native ISO technology, providing 14+ stops of dynamic range, and an Optical Low Pass Filter (OLPH) that helps suppress moiré and false colors, making it excellent in low-light conditions.

It's capable of recording 6K 24p or 4K 60p 10-bit when using an image area equivalent to Super 35mm. If you're using the entire 35mm sensor area, it can shoot 4K at 30p with 10-bit 4:2:2 in H.264.

With live streaming growing increasingly popular, the BS1H is capable of transmitting high-quality footage to social streaming platforms over a wired LAN connection. It can stream 4K 60p video in H.265, which means the bit rate is halved and the image quality is kept the same.

The lack of a screen may be off-putting, but its modular system means you can easily attach an external recorder such as the Atmos Ninja V, which will also make it capable of outputting 12-bit raw video.

Read our full Panasonic Lumix BS1H review for more details

• Back to the top ⤴

Best dynamic range

The Canon EOS C70 is Canon's first RF-mount cinema camera offering powerful video capabilities. It features Canon's Super35 sensor, Dual Gain Output, a massive 16 stops of dynamic range, and 4K 120fps / 2k 180fps.

It also includes a game-changing touchscreen which makes accurately focusing quicker and easier. The C70 boasts the deep learning iTR AFX system from the Canon EOS-1D X Mark II which offers head detection and extremely accurate autofocus.

If you don't want to invest in expensive RF lenses we suggest you use an adapter to mount EF lenses onto them. Canon's new speed booster will also enable you to use them with an extra f-stop and a full-frame angle of view. Where the C70 falls down is that it doesn't record RAW and you can't use PL glass on it - for that, you'll have to step up to the Canon C300 Mark III.

See our full Canon EOS C70 review

• Back to the top ⤴

How we test the best filmmaking cameras

We test the best filmmaking cameras both in real-world shooting scenarios and in carefully controlled conditions. In our tests, we look at the resolution, dynamic range in real-world use cases and make our judgement on years of expertise in the field of filmmaking and photography.
Find out how we test and review on Digital Camera World

• Back to the top ⤴

Compare prices

The best medium format cameras deliver image quality that really is in a class of its own. The sheer amount of detail, tonal depth, and overall richness you get from these larger sensors is something even the finest full-frame cameras still struggle to match, especially when 100MP resolutions are now almost the norm. Honestly, once you’ve shot medium format for a while, it can be very hard to step back.

Of course, none of this comes cheap. But the good news is that medium format is no longer quite as unreachable as it once was. Brands like Fujifilm and Hasselblad have pushed the format forward while also bringing prices down, and modern medium format cameras are far quicker and more responsive than the slow, deliberate machines many people still imagine. In fact, they’re now fast enough that even street photography with medium format feels entirely realistic.

I’m a Hasselblad user myself, and the Hasselblad X2D II is the medium format camera I keep coming back to. It’s loaded with technology that makes it a phenomenal tool for pure still-image quality, from its class-leading 15.3 stops of dynamic range to 10 stops of image stabilization, and it’s also the first mirrorless camera to use LiDAR autofocus to support its subject detection system.

What I love most about medium format cameras isn’t just the huge resolution, but the distinct way they render an image and the performance benefits that come with the format. With that in mind, here are my picks for the best medium format cameras you can buy right now.

The best medium format camera

Best medium format camera for photography

If you're looking for ultimate photographic quality, look no further – the Hasselblad X2D II 100C is the definitive still imaging machine, with unmatched HDR capabilities, and the best medium format camera that photographers can buy.

Its 100MP image sensor is capable of 16-bit stills with 15.3 stops of dynamic range, making use of Hasselblad's exceptional Natural Color Solution HDR technology, to produce incredible color and dimension in-camera. Photos are gallery-ready, directly out of the X2D II.

It's also the most technologically advanced stills camera you can buy. On top of its industry-best dynamic range, it also boasts an industry-best 10 stops of image stabilization along with industry-first LiDAR autofocus – which, paired with hybrid phase detection and algorithmic subject detection, gives the camera fierce field performance.

In addition to a 5.76 million dot viewfinder, which enables you to see every ounce of detail in your 100MP shots, the camera supports CFexpress B cards but also boasts 1TB of internal storage. No more scrambling around for cards!

The asterisk is that the X2D II – like all current Hasseblad cameras – does not shoot video in any way, shape, or form. Honestly, though, I don't think anybody buys a medium-format camera to vlog with, so this should be the farthest thing from your mind. I do wish it had an articulating screen, though.

I also want to highlight the UI/UX and the build of this camera. It has the sleekest, most pleasing and easiest to use menu system of any camera out there – it's a cross between Leica's slickness and Apple's intuitiveness. And not only is it incredibly lightweight, at just 840g, it's the most comfortable camera I've ever held. The ergonomics are perfect – and Hasselblad has even added a much-requested joystick.

Read my full Hasselblad X2D II 100C review for more details

Best medium format camera overall

Refining a formula that has worked exceptionally well for Fujifilm, the GFX 100 II continues to bring medium format to the masses by packing a big sensor into a comparatively small body. On the outside I wouldn't say there's much to physically distinguish it from a full-frame camera. On the inside it's a different story, though, with a 102MP BSI 43.8 x 32.9mm medium format sensor running the show.

Unlike the bigger GFX 100, the vertical grip is an optional extra here rather than being integrated and the electronic viewfinder is now detachable. However, while it's smaller and lighter than its hulking predecessor, it's still a heavy camera at 1,030g.

This is Fujifilm's third-generation 100MP model – and it gives an impressive upgrade in speed that makes this a viable option for shooting sports or wildlife. There is an 8fps motordrive setting and a buffer that can shoot bursts of up to 325 shots. Video shooting has also been improved, with this model offering 8K capture with over 13 stops of dynamic range.

The in-body image stabilization is rated at an incredible 8 stops, which isn't quite good enough for on-the-go vlogging but is still very impressive – and I find it better than a lot of full frame cameras! Fujifilm's gorgeous film simulations also make their obligatory appearance, opening up some fun shooting possibilities and the ability to experiment with different in-camera looks.

This is the most versatile 100MP camera in terms of all-around performance, offering superb stabilization, enviable video and surprising speed in addition to its headline resolution.

Read our Fujifilm GFX 100 II review for more details

Best modular medium format camera

While I think this is the best looking camera ever made, it's not a camera for everybody. Most photographers will be better served with the X2D 100C, which features the same sensor and image processor in a conventional mirrorless camera body (complete with all the associated advantages such as in-body image stabilization).

However, for a certain kind of photographer the 907X & CFV 100C combo is simply unbeatable. The 907X "body" is essentially there to enable the CFV 100C digital back to use modern XCD lenses.

However, the back can also be mounted to legacy Hasselblad V bodies (such as the iconic 500C) to bring them back to life – and it can be mounted to any camera that accepts V plates, such as field and technical cameras, turning any of these systems into a 100MP powerhouse.

Since it lacks any in-body image stabilization, suffers pretty severe rolling shutter, and lacks an integrated viewfinder, this is intended as a tripod-based camera rather than a handheld shooter.

So if you're someone who shoots on sticks and prefers shooting on a waist-level screen (emulating old waist-level finders), and wants the ability to adapt other camera systems, this will be your dream setup.

Read my full Hasselblad 907X & CFV 100C review

Best affordable 100MP medium format camera

If you love the look of the Fujifilm GFX 100 II but simply can’t countenance the expense, fear not! The Fujifilm GFX 100S II is here to the rescue. Offering the same level of scintillating image quality, with a 102MP medium format sensor, the GFX 100S II is also much more affordable. In fact, bucking the trend of the camera industry, Fujifilm has actually made this one cheaper at launch than the previous GFX 100S – though of course, you can get that camera for a lot less on the second-hand market.

I’d still go for this newer version though, as improvements across the board make it an even better camera to use. The autofocus has been upgraded with intelligent subject detection, and the new sensor design features microlenses for faster AF and a new structure that allows for a low ISO setting of 80. Image stabilization now provides an impressive eight stops of effective compensation. Not as impressive as Hasselblad’s industry-leading 10-stop system, but let’s not be ungrateful, it’s still pretty darn good.

You may well be wondering, if the GFX 100S II produces the same level of image quality as the GFX 100 II, and costs substantially less, why would anyone buy the GFX 100 II? Well, there are a few pro-level features reserved for that camera, such as 8K video and CFexpress card support. GFX 100S II users have to make do with 4K video and UHS-II SD card. Similarly, the viewfinder on the GFX 100 II is higher-res and tiltable, and the burst shooting is a little faster (8fps rather than 7fps). If these things aren’t deal-breakers – and I’ll be honest, they aren’t for me – the GFX 100S II is the more practical choice.

So, unless you’re a pro photographer who needs all the extra functionality the GFX 100 II supplies, or you desperately need to shoot 8K video, I’d say the Fujifilm GFX 100S II is a better bet. Keep the change and put it towards some of those fantastic GF-mount lenses!

Read our full Fujifilm GFX 100S II review for more details

Best medium format compact camera

Given the stratospheric popularity of Fujifilm's X100 premium compact series, it was perhaps inevitable that the manufacturer would try to replicate that success in medium format – the question was how on earth they'd manage it. Step forward, the GFX100RF, a medium format compact camera that pairs the sublime 102MP sensor with a 28mm fixed lens, and packs it into a body that genuinely makes sense as an everyday photographer's carry.

With stunning build quality and smooth, polished engineering, the GFX100RF feels brilliant to use. Sometimes it's hard to believe you're getting images this good from a camera this small, and while the fixed focal length is to an extent restrictive, having all those pixels gives you powerful crop modes that allow you to radically zoom in and still pull out publishable images. As we found in our testing, even a significant simulated 80mm crop will still give you 17MP files.

Of course, sacrifices have had to be made to get all this tech into a genuinely wieldable body. The lens has an f/4 maximum aperture, and unlike the X100VI and the rest of the GFX 100 range, there's no IBIS to speak of. This means you're not going to get the same level of low-light performance as you do from other cameras, particularly if you're working handheld in the way this camera is designed for. It's certainly not serious, and Gareth was still able to get good-looking images in low light while using the GFX100RF; it just requires a steadier hand and acceptance of limitations.

This camera will cost you about the same as a GFX 100S II (though you'll need to factor in a bit more for a lens, so in reality it's cheaper). What you gain in portability, you lose in versatility. This has of course been the bargain with compact cameras forever, but then again, most compact cameras don't cost almost $5,000. Whether it's worth it or not is a question only you can answer – but I will say that this camera is a delight to shoot with, and if you want that X100 experience with medium format quality, it delivers it.

Read our full Fujifilm GFX100RF review for more details

Best field camera

The Phase One XT is an extraordinary camera. Phase One doesn't want to call it a technical camera or a field camera but, honestly, I think that's the only appropriate category for it.

Being a technical camera (sorry, Phase One) it has built-in lens movements for perspective correction, and relies on the LCD display on its digital back for composing images. It also employs the reassuringly expensive Rodenstock lens mount and optics, so the purchase cost of the XT itself is just the start.

The other thing that sets the XT apart is the fact that it possesses a full-size medium format sensor (53.4 x 40mm) rather than the cropped sensors (approximately 44 x 33mm) used by every other camera on this list.

So not only does it pack more pixels, they are also physically larger – and thus able to offer finer fidelity. However, it lacks the image processing magic of Fujifilm and Hasselblad – and in particular, Hasseblad's color science – so images might be technically "superior" but they don't look quite as "good" to my eyes.

For a full-fat modular medium format system it's extremely compact, accepting the same 150MP IQ4 digital backs as the Phase One XF system but being designed for portability and field work.

It's not going to be for everyone, but landscape and architectural shooters who want a lot of resolving power in a field-ready kit are going to absolutely fall in love with it.

Read our full Phase One XT review for more details

How to choose the best medium-format camera

When it comes to medium format there are a few things to consider. First of all, resolution; cameras like the Fujifilm GFX 50S II and Hasselblad X1D II 50C pack 50MP, but with full frame cameras like the Sony A7R V, Leica SL3 and Sigma fp L hitting over 60MP, medium format isn't automatically the king of resolution.

That said, it does offer the highest resolutions available with every camera on this list exceeding 100MP. In fact, the GFX 100S and 100 II can both capture 400MP photographs via the magic of pixel-shift multi-shot (though this does come with caveats, such as requiring a completely still scene).

Do you need to shoot video? I would personally recommend a number of full frame cameras for that purpose (look to the Panasonic S5 IIX, for starters) but, if you want video, bear in mind that the 100MP Hasselblads don't shoot it – and only the GFX 100 II shoots 8K.

How about what you shoot – do you mainly shoot on a tripod, either in a studio or on location, or do you need the flexibility to shoot handheld? The Hasselblad 907X is the superior camera for tripod shooting, while the X2D has the best ergonomics and the GFX 100 II has the best stabilization.

While I've picked a lineup of modern mirrorless options, you can still search out older DSLR-based medium format cameras such as the Pentax 645Z, the Leica S3 and the likes of the Hasselblad H6D-100c.

Medium format sensor sizes

It is worth noting that medium format sensors generally fall into two main size categories. The so-called ‘full-frame’ medium format sensor measures 53.4 x 40mm, and is used by Phase One, closely matching the traditional 645 film format. Hasselblad’s now-discontinued H-system cameras also used a similar sensor size, which goes some way toward explaining why these true flagship medium format systems tend to cost well into the tens of thousands.

By contrast, the more common ‘cropped’ medium format sensors measure around 45 x 30mm, placing them somewhere between traditional medium format and 35mm full-frame in size. These smaller sensors are still far from cheap, but they bring medium format into a much more accessible price bracket, usually in the thousands rather than the tens of thousands. They’re the format used by Hasselblad’s X and V system cameras, as well as Fujifilm GFX models, along with systems like the Pentax 645 and Leica S.

So what does that mean in real-world use? Quite simply, Phase One’s sensors are larger and carry more pixels, up to 150MP, which gives them an advantage when it comes to outright resolution and ultimate file fidelity. But that level of performance comes at a serious cost, and in truth, it is only really necessary for the highest-end commercial, fashion, or architectural work where every last pixel matters.

For pretty much everything else, the sensors used by Fujifilm and Hasselblad still produce absolutely stunning image quality. And in many cases, I actually prefer them, not just because they’re more attainable, but because their image processing and color science give the files a look and feel that I find more appealing overall.

How we test medium format cameras

I test cameras in real-world shooting environments – which often includes my professional work and assignments. This way I can see not only how a camera performs under carefully controlled conditions, but also when pushed in authentic shooting situations.

In addition to the quality of imagery, I also factor in how files handle in the editing stage, the quality of image stabilization, extra features on offer (and how useful they are!), battery life, ease of use… basically everything that happens from the moment I pick up the camera to the second I export your final photo or video.

Then the camera goes over to my colleague Ben Andrews, manager of our camera lab. He tests resolution, dynamic range and noise under scientifically controlled conditions using two key testing tools: Imatest Master and DxO Analyzer. This assesses:

1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.

2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.

3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.

FAQs

The highest resolution cameras give you all the pixels you can handle. Producing staggeringly detailed images, these are cameras for producing massive prints, for shooting imagery for billboard ads. These are, for the most part, professional tools, and they do not come cheap.

Many high-res cameras are also not practical for most forms of shooting, designed to be used in controlled studio environments. With that said newer medium format cameras like the compact Fujifilm GFX100RF have changed the game, and are much more light on their feet.

So, which to pick? My personal favorite is the Hasselblad X2D II 100C for pure photography, as it simply has the best color rendition and "3D pop" I've ever seen in a camera. With that said, I acknowledge that the more affordable and versatile Fujifilm GFX 100S II is going to be a better choice for most people. I'll also point to the Canon EOS R5 (which I bought myself), firstly because it can shoot 400MP photos and secondly because it offers fantastic 8K video with killer autofocus and rock-solid image stabilization. But here's what else is on offer…

The Quick List

The highest resolution cameras right now

Here's my list of the highest resolution cameras on the market, including both native resolution (as in, the number of pixels on a sensor) and resolution achieved via pixel shift multi-shot (whereby the camera micro-moves the image sensor and create an artificially larger sensor area – which is only suitable for static scenes with no movement).

This comprises some of the best medium format cameras as well as full frame mirrorless cameras, each of which has their own pros and cons. This guide is focused on resolution, so make sure to research each format to be sure which is right for you!

Best overall

The GFX 100S II is one of the most affordable high-resolution medium format cameras on the market right now. While a starting price tag of $4,999 might not seem exactly cheap, as you'll see, it's considerably below many of the other high-res cameras on this list. It's got the same top-line 102MP resolution as its stablemate, the flagship professional Fujifilm GFX 100 II, but the considerably lower price tag of the 'S' version means it's likely going to be the best pick for most users.

What really continues to impress me about Fujifilm's GFX medium format cameras is how much they offer in addition to their stunning high-resolution sensors. The stabilization in the GFX 100S II provides up to eight stops of effective compensation, and the snappy autofocus system is pretty much on par with the X-series mirrorless cameras.

There are a few features stripped back from the GFX 100S II compared to the GFX 100 II, which if they're deal-breakers for you will mean you'll need to opt for the more expensive camera. You don't get 8K video on the GFX 100S II, having instead to make do with 4K 30p – though to be honest, the GFX series wouldn't be my first choice for video anyway. Elsewhere, you're also making do with a slightly slower burst rate and a lower-res viewfinder. The smaller body of the GFX100S II is a feature that some users may prefer, though it does sometimes make for some awkward balancing with medium format lenses.

Of course, whichever way you go, you're still getting stunning 102MP files, with deep rich colors and absolutely ridiculous detail – and if that's not enough, you can make use of the pixel-shift mode to produce ridiculous 400MP files. For all-purpose usage and maximum resolution, it doesn't get better than this.

Read our full Fujifilm GFX 100S II review

Best colors

Having the best resolution is all well and good, but when you've got all those pixels you also want them to have the best possible color rendition. And as good as Fujifilm colors are, Hasselblad has the best color science in the business. The best way I can describe its Natural Color Solution technology is "HDR for colors", or the difference between a 4K movie and a DVD.

The Hasselblad X2D II 100C is one of the best cameras I've ever used, and a strong competitor for being the best stills camera ever made. While I acknowledge that the sublime and more affordable GFX 100S II is probably going to be the better choice for most users, hence its place at the top of this list – my heart belongs to the X2D II 100C.

As well as that top-tier 100MP resolution, you also get 15.3 stops of dynamic, and a new industry record in the form of a 10-stop stabilization system. The handling is also much improved compared to the previous X2D, with the introduction of a physical joystick and a customizable button beneath it, as well as a tilting rear screen that now extends outward so that it is no longer blocked by the viewfinder when used from the top down. I was blown away by the beautiful ergonomics of this camera – I'd go so far as to call its handling perfect.

This is also the first Hasselblad camera to introduce continuous autofocus (about time!) with subject recognition and LiDAR autofocus. It's no sports camera, but it's pretty darn effective. The fact that it has a built-in 1TB SSD also means that you're covered if you forget a memory card. This is such a fully featured camera, and all those features come at a cost significantly greater than the GFX 100S II. But this camera really is something special.

Read my full Hasselblad X2D 100C review

Highest native resolution

The first time I used the Phase One, I was blown away not only by the raw resolution (a mind-boggling 151MP) but also the sheer scope of the images. That's because this camera features a "full frame medium format" sensor measuring 53.4 x 40mm, as opposed to the "cropped medium format" 43.9 x 32.9mm sensor used by Fujifilm GFX and Hasselblad X series cameras.

Not only does this create even shallower depth of field (and further shorten the effective focal length of lenses), it also means that the amount of detail in image files is truly unparalleled. I was genuinely amazed at the quality presented by megapixels that were so much larger and more numerous.

This raw power comes with provisos, though. Firstly, this hulking system is strictly for the studio – unlike the GFX 100 and X2D, this isn't ever going to be a street photography camera. Secondly, it's strictly for professional work, with a price tag starting at $50,000.

The XF 1Q4 system is so exclusive that you can't just go on Amazon and buy one – you have to go through Phase One's specialist dealer network. But if you need the ultimate in sheer imaging performance, you'll find no better.

Read our full Phase One XF IQ4 150MP review

Highest resolution compact

Not content with shaking up the medium format market with the GFX series, Fujifilm has upped the game by introducing a medium format version of one of its most enduringly popular cameras. The Fujifilm GFX100RF is essentially an X100VI, only with a 102MP medium format sensor instead of APS-C. The fact that it manages to be practically the same size and weight as an X100 camera is nothing short of a marvel of engineering, and if you want to shoot high-resolution imagery while staying light and nimble, this fixed-lens compact is the way to do it.

The high-resolution sensor is paired with a 28mm equivalent fixed lens that's sharp enough to make the most of all those pixels. Naturally, cutbacks have had to be made to make a camera that's so remarkably lightweight for what it's offering – the GFX100RF has no optical viewfinder (though there is an EVF), no in-body stabilisation, and a slightly pedestrian f/4 maximum aperture.

It is still, however, a glorious camera to use, as we discovered in our full review. The level of detail produced by the sensor is simply stunning, and the color output is spectacular, as is always the case with Fujifilm. You get access to all of the fabulous Film Simulation modes, and can ake advantage of the latest intelligent focus tracking modes. Battery life is also hugely impressive – high-res cameras are often very power-hungry, but the GFX100RF kept on shooting for full days, averaging around 500 to 600 shots to a charge in our testing.

While it's not what you'd call cheap, at $4,899 / £4,699 the Fujifilm GFX100RF is one of the least expensive cameras on this list, especially when you consider that you don't have to factor in the cost of lenses. One of the most impressive compact cameras ever made – this high-res powerhouse makes monster-pixel photography more accessible than ever.

Best 8K video

What's a 45MP full frame camera doing this far up the list, among the 100MP medium format monsters? I'll tell you what: beating them in the video stakes and the resolution stakes, thanks to its 400MP pixel shift photos!

If you want a high-resolution camera for video, the R5 is your answer. Its 8K 30p and 4K HQ video is crystal clear and utterly stunning, and is powered by Canon's Dual Pixel AF II autofocus system that (for my money) is the best in the game. Best of all, thanks to the frame grab function, you can shoot 8K video and extract a 35MP still, giving you the best of both worlds.

And yes, while its native resolution is "just" 45MP (still no slouch, let's be honest) it can capture 400MP photographs in its High Res Shot mode – something that's simply unheard of for a 35mm sensor, and is only offered by a few medium format bodies.

The R5 is a camera I personally own, and it's the best overall camera I've ever used. However, it's worth noting that there are recording limits for capturing 8K and 4K HQ video to ensure that the camera doesn't overheat – for pure 8K videography, the Canon EOS R5C might be a better bet.

Canon has also released a direct successor to this camera – the monster Canon EOS R5 Mark II, which features the latest generation of transformative intelligent features, from AI-powered image upscaling to Action Priority autofocus. So why hasn't it been added to this list? Well, the Mark II version eschews the 400MP pixel-shift resolution Hi Res Shot mode in favor of the aforementioned AI upscaling, which tops out at 180MP. So for our purposes in this guide, the original EOS R5 remains undefeated.

Best field camera

Phase One isn't keen on the XT being called a field camera, but I'm sorry – that's essentially what it is. It takes the power of the IQ4 digital backs and puts them in a form factor that's more compact and portable – to be used in the field, as it were.

Given that it's designed for elite landscape and architectural photography, it marries the IQ4 backs with an integrated lens-shift system that is used to compensate for perspective distortion. Basically it's a camera that makes every optic a shift lens, and the premium Rodenstock lenses each have a large image circle for the convergence correction to work.

Speaking to the nicheness of the system, there are only seven lenses available (though four of them also have a tilt function) and they all carry hefty price tags – on top of the $50,000+ investment in the XT itself.

Like the Phase One IQ4 system, this is the highest of the high end in imaging and isn't intended for 99% of the photographic public – but for those who need it, there's nothing better.

Read our Phase One XT review

Best modular camera

This is the Hasselblad X2D in a different, and utterly unique, form factor. The 907X is the camera / XCD lens mount, while the CFV 100C is the digital back that contains the brains of the system: the 100MP sensor, tilting screen, integrated SSD and so on.

In short, the X2D is a conventional an all-in-one mirrorless camera, but the 907X / 100C combo is a truly modular medium format camera, which gives it an astonishing amount of versatility. First of all, it's a glorious 500C-inspired box camera in its own right – and I absolutely loved using it in this configuration on a monopod.

However, if you want it to be more handholdable, you can attach a handgrip and viewfinder – and even a hotshoe for a flashgun, if you want to. But you can also remove everything else and use the digital back with other camera systems.

It fits Hasselblad's classic V System cameras perfectly, so you can attach this digital back to something like a 500C and instantly breathe new life into an old body. But you can also mount the back to a technical camera to imbue it with 100MP image quality and Hasselblad's brilliant color science. It's a thing of absolute beauty and a work of utter genius.

See our Hasselblad 907X review

Best full frame resolution

The highest resolution camera with a full-frame sensor, the A7R V is Sony's pixel-packing specialist with 61MP of power – something that can be muscled up to 240MP via the magic of pixel shift.

It's also an 8K-capable camera, though only in 24/25p with a 1.24x crop (4K 60p is also cropped, but 4K 30p is full readout). Like the GFX 100II I wouldn't pick this first for video, as the EOS R5 is far more capable, but it certainly captures tasty 8K footage and has a superb autofocus system powered by AI subject recognition algorithms.

This is, of course, also fantastic for photography, with Sony's AF being almost as good as Canon's for subjects such as wildlife – and with the respectable 10fps burst mode, this is a surprisingly capable camera for capturing fast action.

I'm a fan of the dual-pivot rear screen, which tilts without having to be flipped out while also offer full flippy functionality if you want it. I wish more cameras had this! The image files are packed with fantastic amounts of detail and dynamic range, though I'm not a fan of Sony's color science (or menu system, for that matter).

I do wish that Sony had opted for CFexpress Type B cards, but instead it has gone for the slower Type A kind – though this does at least enable the A7R V to feature hybrid card slots that also support standard SD memory, so you don't have to invest in new media.

See our full Sony A7R V review

Best for street

With a 60MP sensor, the full-frame Leica Q3 43 is able to resolve an impressive level of detail in images, and it's much more agile than many of the other cameras on this list. Leica is known for pristine build quality and engineering on the inside and outside of its cameras, and accordingly, the Leica Q3 43 is beautiful camera to look at and use.

The essential combination of this compact camera is a 60.3MP full-frame sensor with a fixed Leica APO-Summicron 43mm lens. This provides a narrower field of view than the 28mm lens on the previous Leica Q3, which for many photographers is just a little wider than is consistently useful. A 43mm focal length is very close to the field of view of the human eye, allowing you to produce images that feel very naturalistic and 'real'.

The controls of the Leica Q3 43 all feel intuitive and well-engineered. There's a shutter speed dial, several customizable function buttons, and a sharp rear screen. The OLED viewfinder is also big and clear. One thing to note though is that the camera lacks a pronounced grip, and this, combined with its not inconsiderable weight, means it can get uncomfortable to hold for long periods. You can, of course, invest in the optional Leica grip, but your wallet will likely already be hurting from buying the Q3 43 in the first place.

Still, the imagery it produces is absolutely stunning. The Summicron lens and Leica's in-camera photo styles all help you nail photos with that inimitable Leica 'look', and the clever digital crop feature helps expand the utility of the fixed lens by essentially turning it into a digital zoom. This is a dream of a camera for street photography at high resolutions, and it's also one of the most affordable 'real' Leica cameras around.

Read our full Leica Q3 43 review

How to choose a high-resolution camera

We have ordered these cameras roughly by the resolution they're capable of producing. Naturally, modes like pixel-shift high-resolution complicate matters, as do varying sensor sizes. However, if your only priority is getting the most pixels possible, you'll want to stay towards the top of this list.

It's worth thinking about the kind of shooting you want to do. If you're going to be in the studio exclusively, shooting subjects that won't move unless you tell them to, the Phase One XF IQ4 and its 150MP full-size medium format sensor are going to be your port of call.

However, modern medium format cameras like the Fujifilm GFX 100S II and the Hasselblad X2D II 100C offer the latest advancements in autofocusing and burst-shooting technology, making them much more useable for different types of photography. This goes even more so for full-frame cameras like the Canon EOS R5, Sony A7R V and Leica Q3 43 – though you'll have to further compromise on resolution.

How we test cameras

We have a two-part testing process. First of all, I evaluate every camera by taking it into the field and shooting in real-world situations. For high-resolution cameras I'm paying particular attention to the level of detail and fidelity in the files – especially when it comes to cameras that feature pixel shift, as the hit-rate and success can vary wildly between manufacturers.

I also consider factors such as video recording and overheating limits, battery life, physical ergonomics and menu grammar, which may not affect performance directly but certainly have a huge impact on a camera's usability. Something I don't do, however, is assign any bias or expectation either way on high-priced cameras; yes, Hasselblads and Leicas and Phase Ones are expensive, but I can only judge how good they are at the job they do – my perception of value may be different to yours.

To complement this hands-on evaluation, my colleague Ben Andrews, our lab manager, performs dedicated lab tests on camera resolution, dynamic range, and noise under scientifically controlled conditions using two key testing tools: Imatest Master and DxO Analyzer:

1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.

2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.

3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.

Read more about how we test and review cameras at Digital Camera World.

FAQs

Is high resolution a good thing for cameras?

High resolutions, like every feature of a camera, have positives and negatives. High-resolution files provide enormous amounts of detail in images. This is great for printing in large formats, and also allows you to crop significantly into an image with no perceptible loss in detail.

However, to be used effectively, a high-resolution requires a comprehensive support system. You need to be using the sharpest lenses you can get hold of, as there's no point in having all those pixels if they're looking through inferior glass. Also, high-resolution files are very large, and will mercilessly gobble up megabytes and gigabytes on your cards and hard drives. This also means you need a pretty capable computer to even open them up in editing software, never mind actually work on them.

If you're equipped to make the most of them, high-resolution cameras will deliver images of simply peerless quality. If you're not, however, all those pixels can feel like a millstone around your neck.

You might also be interested in the best professional cameras and, if high-resolution video is your thing, the best 8K and 6K cameras.

If you're reading this, the chances are that you're interested in cameras. This is good! I'm interested in cameras, too. But cameras are simply a means to an end – they're the tools necessary in order to practice photography.

Now more than ever before, however, a huge proportion of photographers are getting it ass-backwards – practicing photography has become the means to the end of acquiring cameras. 

It's important that I put my hands up, here, because I am definitely guilty of stockpiling cameras. However, I'm not locked in a never-ending arms race with the rest of the world to upgrade my gear all the time in a ridiculous effort to own all the latest kit. 

For better or worse, a lot of new photographers see cameras and lenses as little more than Pokémon cards. They don't need a 100MP camera, but Fujifilm makes one and it has more megapixels than anything else on the market (without selling your kidneys to buy a Phase One, anyway), so they go and buy a Fujifilm GFX 100S.

If you're a member of a camera club, you know the people I mean. They come in each time, brandishing their latest bit of gear, ready to play a glorified game of Top Trumps so they can "have the best" camera in the group. Whether they actually know what to do with it is another matter entirely.

Compulsive collection and GAS (gear acquisition syndrome) aside, I do understand somewhat. Cameras are a fusion of art and technology, and a lot of photographers are more interested in the latter – they admire cameras as pieces of boundary-pushing achievement more than as pure imaging tools. 

Obviously, this phenomenon has been around pretty much as long as cameras have. However, the advent of YouTube has taken it to a whole different level. Hyperbolic gear reviews and clickbait proclamations and the constant bigger-better-more cycle of hype… no sooner have you bought that GFX 100 than you go onto YouTube and you see people saying how crap it is, and how psyched they are for the next thing.

There's nothing wrong with having the shiniest tech, of course. Buy all the cameras and lenses you want to – I genuinely hope that they bring you a lot of pleasure. Just do me a favor and learn how to use them properly so you can actually take a decent picture occasionally.

Read more: 

Best Fujifilm cameras
Best medium format cameras
Best Canon cameras

If you’re new to digital photography, you might well be wondering what all the fuss is about regarding the unveiling of full-frame mirrorless cameras. What’s the big deal about having a large sensor in a smallish camera? And what exactly does ‘full-frame’ mean anyway?

Most DSLRs and mirrorless cameras have an imaging sensor that’s the same size as a single frame of APS-C film – about 22 x 15mm. A full-frame camera, however, has a sensor with the same dimensions as a frame of 35mm film – 36 x 24mm. This means a full-frame sensor has more than 2.5 times the surface area of APS-C. 

Why does size matter when it comes to sensors? Larger sensors can accommodate more pixels for more detailed pictures. For instance, the Canon EOS 5DS’s full-frame sensor houses around 50.6 million effective pixels, and can produce images that measure 8,688 x 5,792 pixels. That works out as a high-resolution 74 x 49cm print! With an abundance of pixels, it’s possible to make substantial crops to the full image in software to improve the composition, but still end up with a usable file size.

Not all of the best full-frame cameras outclass crop-sensor cameras in terms of resolving power, though. At 20.8MP, the Nikon D5 has almost the same pixel count as the company’s 20.9MP Nikon 500 flagship APS-C SLR. This means that despite the difference in sensor size, both cameras are capable of producing an image that’s the same size.

Common sensor sizes

There are a wide range of sensor sizes, from the smaller chip in camera phones to the 150MP medium-format monster in the Phase One XF IQ4. But three formats dominate in DSLRs and mirrorless cameras...

Full-frame and crop-sensor cameras – what's the difference?

The big difference between full-frame cameras and crop-sensor cameras that share a similar resolution in this vein is the size of the pixels. The pixels on the full-frame sensor are larger, and this allows for more efficient light gathering. The upshot is cleaner, better-quality images at high ISO settings, which makes a difference when you’re shooting in low light or at night, or when you’ve increased the ISO sensitivity to get a faster, action-stopping shutter speed.

There are further technical and creative reasons why you might consider making the move up to a full-frame camera. For a start, it’s easier to exploit shallow depth of field effects, so that images have more blur and less sharpness. The effect is enhanced when a large-aperture full-frame prime lens is used.

Shallow depth of field contributes to the appealing full-frame aesthetic – something exploited by filmmakers keen to get the cinematic ‘look’, as well as photographers – although it is entirely possible as well to reduce the depth of field when you use a crop-sensor camera.

Talking of lenses, you get more choice when it comes to full-frame. While other cameras are hardly short of options, there is a legacy of lenses from the days of film which is open to many full-frame users.

Something else to consider if you’re a cropped-sensor camera user looking at moving up to full-frame, is that your current lenses may not be compatible with a full-frame body, as the image projected by the lens won’t cover the larger surface area of the sensor – although some cameras get around this by switching to ‘crop’ mode. You can find out more about this by looking at what sensor is best for bird photography.

Crop-sensor cameras can deliver great images, so why bother with full-frame?

Image quality
Although the design of components, image processing and lens quality make a big difference to the end result, a larger sensor allows for larger pixels – and more of them – giving a clean, detailed image. 

Build quality
Full-frame cameras are aimed at enthusiasts and professionals, so they tend to have the level of build quality that these users need. High-end crop-sensor cameras share a similar level of robustness.

Viewfinder
You’re presented with a larger image in the viewfinder, which can make it easier to compose. It’s not always easier if you wear glasses, however: you may not be able to see the corners without moving your head.

Cropping
The ability to crop full-frame images and retain image quality is a big benefit. Shots taken at high ISO settings can also be ‘downsampled’ – made smaller in software – to reduce the effects of noise.

Of course, full-frame isn’t for everyone. Despite the amazingly compact full-frame mirrorless cameras on the market now, full-frame bodies still tend to be bigger and more expensive. Check out the cheapest full-frame mirrorless cameras if you're on a budget, or consider buying a used camera. 

Phase One has launched a new tilt lens for the Phase One XT camera system. The XT-Rodenstock HR Digaron-W 4.0/40mm Tilt lens has been created for landscape photography, and the simple tilt mechanism via a knob on the lens will help to control depth of field and sharpness throughout the entire scene.

The Phase One XT camera system has been designed for true longevity, and although the company recently teased what we thought was a new model, this new specialist lens shows the company's commitment to its existing camera ecosystem. 

Drew Altdoerffer at Phase One described the lens as an important addition to the XT lens series. "The tilt design allows for fine focal plane control, maximizing depth of field and complementing the shift of the XT camera for exceptional image quality and composition control.”

X-Shutter now compatible with Rodenstock 138mm lens

Phase One has also announced that the Phase One X-Shutter (an optional electronic leaf shutter that can replace the traditional shutter on some Schneider and Rodenstock lenses) is now available for the Rodenstock HR Digaron 138mm f/6.5 lens. What this means it that owners of the Phase One IQ4 can control aperture and shutter speed directly from the IQ4 digital back.

We're always likely to get more excited about a brand new camera model than a new lens. However, what Phase One's dedication to camera upgrades and new accessories does ensure is that they keep making their systems better – and that for existing Phase One users, their (significant) camera investment remains a smart choice as it won't simply be outdated in a few years.

Whether it's down to clever marketing or a clever camera system – probably both – it feels as if the Phase One XT camera system will get even better with age.

Cascable app update enhances mobile workflow

Last year, Phase One launched a new way to control an XF or XT camera via iPad or iPhone with an iOS app called Cascable. An update for Cascable AB is now available, which will speed up workflow, improve performance and enhance mobile integration specific for the for IQ4 Camera Systems using the Cascable 6 for iOS (v.6.3).

Cascable enables IQ4 users to wirelessly control, capture, automate, manage photos, and more. If a photographer is at a difficult location, mobile integration allows them to move around easily while still adjusting their camera controls to the perfect settings. The new update includes performance improvements for image quality workflows, live view, wifi connectivity, and image access. 

The Cascable integration app is available now via a firmware update — free to Phase One IQ4 customer through the Apple App store, and in-app purchases will be available to Phase One IQ4 customers for free.

Pricing and availability

The Rodenstock HR Digaron-W 4.0/40mm Tilt lens is available to order from today through Phase One Partners, although delivery isn't expected until at least September 2022. Like the Phase One IQ4 XT Camera System, it's not in the "affordable" range, and will be at a suggested price of $11,990 USD and €11,000.

You can get the X-Shutter for a Rodenstock HR Digaron 138mm f/6.5 lens now at worldwide resellers.

Read more

The best professional cameras
The best medium format camera
Phase One launches new way to control your camera

If you're a student or educator and a member of the EDU, then you can save some serious cash on these Sony camera bundles with B&H.

We are talking up to an astonishing  45% off or equivalent to a Sony A7 II for just $758.20. Discover the full savings below.

No matter what Sony camera you have your eye on, this list includes some of the best Sony Cameras out there that can take your photography or filmmaking to the next level. These are also amazing candidates for students to get the best camera possible to help kickstart their career.

Read more:

Amazon Prime Day deals
Best Sony camera
Sony A7 II review
Best Sony lenses
Sony A7R III review

Phase One recently added a video teaser onto its YouTube channel which has got us all guessing. The 19-second clip suggests that the company is announcing an update to its XT camera system next week.

"We have some exciting news for our XT camera. Stay tuned!" And that's all we really find out from the teaser, alongside seeing some dark and dramatic visuals with some equally dramatic music. Since the video went live, the internet has come alive with Phase One enthusiasts trying to work out what the new model could be or feature.

DPReview thought that it noticed a silver knob on the top of the lens, which could add some more pronounced tilt-shift functionality. Mirrorless Rumors simple asks: "The big question is if this will be their first mirrorless camera…"

What is Phase One's XT camera system?

There are currently two camera models in the Phase One XT lineup; the Phase One XT IQ4 150MP and Phase One XT IQ4 150MP Achromatic – a camera that's designed to excel at timeless black and white photography.

While Phase One's XF camera range is suited for studio photographers, the XT cameras are for field use – landscape and documentary work. 

The original Phase One XT 150MP medium format system camera (which we last reviewed back in 2019) combined Phase One’s ultra-high resolution IQ4 digital back system with a trio of lenses from renowned optics maker Rodenstock via a super slimline XT camera body. 

Our overall verdict was generally: cool camera, luxurious price tag ($56,990 to be more precise). Phase One's next body is likely to be the same when it comes to the cost, but that won't put off photographers who want or need it. To know what the new XT camera system has in store for sure, we'll have to wait for the (hopefully) full announcement next week.

Read more:

Best medium format cameras
Best cameras for professionals
Best cinema cameras

If you are after a fast and portable SSD to take all your work with you while on the road or a big drive to safely store your work while on a shoot, then this tremendous deal on the SanDisk 4TB portable SSD from B&H will save you $360 - that's an incredible deal for our best Memorial Day sales hub. 

Take your data with you using this huge 4TB in size, but small in design, Extreme Portable SSD V2 from SanDisk. Designed for performance under adverse conditions, this durable 4TB SSD features read and write speeds go up to 1050 and 1000 MB/s, respectively. Bus powered, the SanDisk Extreme Portable SSD utilizes a USB Type-C connection, while a USB Type-C to C cable is included, along with a USB Type-C to Type-A adapter so you can use any device to back up to this huge and portable storage.

Read more:

Best SSDs
Best portable SSDs
Best hard drives for video editing
Best Memorial Day camera deals

Get ready for spring and save big on professional Olympus kit with these amazing deals saving you a saving up to $1,300 on cameras, bundles and select lenses – but hurry, these special offers end on 27 March.

When any camera manufacture offers deals across a range, you always stand up and take notice. And that is no exception with the great deals on offer on the best Olympus cameras, and as always we have handpicked the best deals below to make the buying process that little bit easier for you.

Read more:

Best Micro Four Thirds lenses
Best Micro Four Thirds cameras
Best waterproof cameras

It's not often you hear of medium format cameras being used to shoot sports, let alone racing cars that can achieve ridiculous speeds. Yet professional sports photographer Jesper Gronnemark has done just that. 

in his latest photoshoot with Red Bull F1, Gronnemark used Phase One’s highest megapixel camera, the Phase One XF IQ4 150. That’s right, shooting racing cars with a 150 megapixel camera! 

• Read more: Best medium format cameras

Phase One has been a big contender in the medium format universe since the film days, and after taking over Mamiya it soon became a household name in the world of elite photographers and advertising campaigns, offering the highest resolution and craftsmanship possible. 

Today its cameras have taken images that feature on the covers of luxury magazines like Vogue or used in high-fashion campaigns for the likes of Ralph Lauren, but haven’t been used for sports that much… until now.

Armed with a the Phase One XF 150MP camera and a range of blue-ring lenses from the blue Schneider Kreuznach 35mm LS f/3.5 to the 80mm f/2.8 to the 240mm LS f/4.5 IF, Gronnemark was able to capture some stunning images of the Red Bull F1 team’s car within the countryside of Denmark – a setting not common for this type of race car. 

The shoot would prove even more difficult than expected, as not only did Jesper have a shot list as long as his arm, but he would have to work round the whole F1 team, film crew, members of the public and of course some rough weather conditions thrown in for good measure.

From the images Jesper has captured, the photoshoot was a complete success – and it goes to show that even though he is a professional photographer who has worked for over ten years supplying the sports advertising and editorial industry with his work, even he has to work around a film crew getting in front of his lens or working in harsh conditions sometimes.

The camera:

The Phase One XF IQ4 150MP is a modular camera system that features a removable back or brain from the camera body itself. Within this back is the massive sensor that is even bigger than full-frame, 1.5 times larger than any mirrorless medium format on the market, and produces stunning images of 14,202 x 10,652 pixels. Or, to put it another way, a native image output of 120.26 x 90.19cm and 300dpi with 15 stops of dynamic range.

So you can see why some consider this the best medium format system that money can buy. And while we are talking about price, the kit that Jesper was using for this shoot would total in the region of around $65,000 / £48,671 / AU $88,590! The whole thing is simply mind-blowing, but the images look fantastic and just go to show that the myths of digital medium format not being suitable for sports is simply a thing of the past.

Read more:

Best medium format camera
Highest resolution cameras
Best Hasselblad camera

If you are looking to upgrade to the latest and greatest Leica medium format camera, and you already own either an S (Typ 007), S2 / S (Typ 006) or a medium format camera or digital back that has a sensor with 41 megapixels or higher, then you could save up to $4,000+ when trading in for a purchase of the new Leica S3. 

This might sound like a rather exclusive deal, and you’d be right – not many have a Leica S medium format camera lying around, nor do they have a Hasselblad or Phase One system collecting dust. However, if you happen to be one of the lucky few and you're after a Leica S3, you can really save yourself some dollars and get that elusive red dot in your collection!

Currently the trade-up values are as follows:

Those who are thinking about trading in their Hasselblad for the Leica system can also benefit from more savings, as Leica will give you a free Leica S-adaptor H – so you can still use all your Hasselblad H glass with your new S3, which is a win-win situation for medium format switchers.

More about the Leica S3:

The Leica S3 is the flagship camera of the medium format range by Leica. It is equipped with a brand new 64MP 30 x 45 mm medium format sensor, capable of 3.5 frames per second shooting, with a top ISO range of 50,000 along with expanded 4K video capabilities. The S3 is a powerful, luxurious solution for medium format imaging for use both in the studio and out in the field.

Read more:

Leica S3 review
Leica M11 review
Leica M10-R review
The best medium format cameras

Phase One has announced a collaboration with Swedish software firm Cascable AB, whose free iOS app Cascable enables you to control and automate your camera, right from your iPhone or iPad.

The Cascable app was already compatible with over 200 cameras from a range of manufacturers, but now it's integrated with the Phase One IQ4 'Infinity Platform' controls. Which means that users of the Phase One XT and XF cameras can now access a slew of new features. 

• Read more: Best medium format cameras

Many people don't realize this, but some of the best free photo editing software often comes directly from the camera manufacturers themselves. And that makes sense, because the people behind the hardware know a lot about how to produce software that works perfectly with it.

That said, another smart play can be for a manufacturer to team up with a third-party app developer, and bring new functionality to that app that's optimized for its own equipment – which is exactly what Phase One has done here. These are the features now accessible to XF and XT users:

• Wifi & Tethered Live View
  Connect directly from iOS mobile device to IQ4, via adhoc Wifi, local Wifi Network, or Ethernet, to view the Live View feed of your IQ4
• Wifi & Tethered Camera Controls
  Connect directly from iOS mobile device to IQ4, adhoc Wifi, local Wifi Network, or Ethernet, and control the primary settings of the IQ4
• Host Capture and Storage
  Once connected, your iPhone or iPad can act as a host, saving RAW files locally for further integration with additional mobile software and/or cloud storage
• Image Review
  Local images can be reviewed for image verification and later editing

Along with Phase One-specific features, the majority of Cascable App's features are also available to Phase One IQ4 users. Indeed, while some of the app's 'Pro' features are normally in-app purchases (adding up to $59.99 in total), they're being made available to Phase One IQ4 owners at zero cost. 

And this looks like only being the start of the collaboration between Cascable and Phase One. “The power of mobile devices is now at a point where the tremendous size, resolution, and image quality of IQ4 files can be utilized on mobile platforms, said Drew Altdoerffer, Phase One VP Portfolio Manager for Digitization. 

"With Cascable as our guide to mobile integration, we are set to build an entirely new and integrated mobile workflow for our customers.”

Read more:

Phase One XT review
Phase One IQ4 review
Best medium format cameras
$6,000 iPhone 11 Pro Steve Jobs limited edition
Turn your iPhone into a Pokédex

Capture One Pro 20 is a professional-standard editing program that's used by pro photographers and retouchers all around the world. Initially developed by high end camera company Phase One, Capture One Pro 20 is not only an image editor – it can also be used to catalogue images, process raw files and for tethered photography. While Capture One is a great piece of image editing software, its price can often put consumers off from investing. Luckily, Capture One Pro 20 has just received a $100 discount from B&H. 

Capture One holiday deals

Capture One Pro 20 is an advanced photo workflow tool to enable photographers to save time at every possible juncture – from shooting their photos, to organizing their images to editing their shots. Version 20 of Capture One sees a variety of updates to plenty of tools, including a Basic Color Editor and a dedicated High Dynamic Range function to help achieve improved shadow and highlight response. 

Other features include a dedicated Healing Tool, the Before/After tool to enable you to see the changes you've made, an intuitive Adobe Lightroom importer so that you can move Lightroom Catalogs directly into Capture One and more. 

Read more

Best photo editing software
Best video editing software
Best laptops for photo editing
Best laptops for video editing

If you've been thinking about purchasing Capture One Pro 20 for a while, but you've always been put off by the price, then this deal from B&H should certainly pique your attention. You can now pick up Capture One Pro 20 for the incredible price of just $169.94, down from its original price of $299.94 by $130. 

Phase One's Capture One Pro 20 software is an advanced photo workflow tool that enables you to enjoy a variety of processes, from photo editing to tethering to asset management and more. Version 20 of this industry standard software sees an update to the core editing tools, including a Basic Color Editor and a dedicated High Dynamic Range function.

• Read more: Best photo editing software

In addition, the Capture One Pro 20 software will also have an enhanced Noise Reduction function, to help ensure cleaner, clearer results when working with photos shot at high ISOs. Users will also be able to edit their images faster with an updated scrollable interface. While there have been some exciting updates to the Capture One Pro software, version 20 still maintains its excellent core editing and production features as well. 

This offer will end on 31 May at 11:59PM EDT, so if you're interested in scoring a $130 discount then don't delay!

Read more

Best free photo editor in 2020: free software that still does a great job
Best monitor calibrators in 2020: keep your on-screen colors accurate
Best Adobe Photography Plan deals for Photoshop CC and Lightroom in 2020
Corel PhotoMirage software review

Dynamic range is a key selling point for cameras and sensors. It's the ability to capture detail in the brightest and darkest parts of a scene without them turning to a blank white or a solid black. It's a key part of the Digital Camera World testing process and it's as important to professional photographers as megapixels and sensor sizes.

The dynamic range of sensors is finite. Dynamic range is measured in EV (f-stops); 12 stops of dynamic range is good for a mirrorless camera or DSLR, though some stretch to 13 stops and medium format cameras sometimes boast 14 or 15 EV dynamic range. But Phase One's new capture technology takes this a step further by combining two exposures in-camera to create a composite raw file which can be processed in the latest Capture One software to offer more dynamic range than ever before. 

The sample image at the top of this article shows a bicycle park in near blackness under a circular opening to the outside world, and Capture One has been used to bring up the dark shadows by an amazing 8 stops with excellent looking image quality.

We're even more impressed by this outdoor Dual Exposure+ example, where the details in the shadowed side of the building have been brightened by a massive 10EV.

What makes Phase One's Dual Exposure+ system different

Many regular cameras have 'HDR' modes, but these capture three (or more) separate exposures and process them in-camera to produce an HDR JPEG image. These can be all right, but they use HDR merging processes which can produce image artefacts and unrealistic or flat-looking images, can bring 'ghosting' issues (subject or camera movement between frames) and generally it's still best to use dedicated HDR merging software.

The new Phase One system is different. It doesn't use bracketing as such, but captures two images simultaneously with its electronic shutter (though the 'scan' time is still a second or so) and saves them in a new dual-exposure raw file format ready for processing using Capture One's shadow and highlight recovery tools.

Phase One says the camera exposure should be set to capture the highlights in the image, and the secondary +3EV 'shadow' exposure will take care of the darker parts of the image and yield better quality than trying to recover very dark areas from a single exposure.

The only comparable system we can think of right now is Adobe Lightroom's HDR Merge feature. This relies on bracketed exposures captured by the camera but merges them into a single 32-bit HDR DNG file for further editing.

The Phase One Dual Exposure+ system is still in development but available for users to try 'at their own risk'. It can be used with Phase One's IQ4 150MP and IQ4 150MP Achromatic back, but not on the IQ4 100MP Trichromatic. 

Phase One cameras are expensive professional medium format cameras outside the scope of most enthusiasts and amateurs, but this new Dual Exposure+ system is a clever bit of thinking and we would LOVE to see this filter down to more affordable cameras.

Read more:

• These are the best medium format cameras right now
• We pick the best cameras for professionals
• Phase One XT Camera System hands on review

The March issue of Digital Camera revisits one of our favourite subjects – winter wildlife. 

Over 13 pages, we reveal hints, tips and hard-learned advice for shooting birds, beasts and more.

And you don’t have to own any expensive camera kit or travel far… our tutorials cover using a basic telephoto lens and show how to photograph the wide array of birds you’ll find in your garden.  

More inspiration is waiting in Photo Active, our dedicated projects section. Learn how to shoot infra-red images, carry out basic portrait edits in Lightroom and get the inside track from Terry Donnelly on one of his award-winning environmental portraits. 

This month’s One to One pro masterclass focuses on Paul Reiffer, a pioneer of ultra-high-resolution photography using a Phase One camera system. And if panoramic photography interests you, then find out more about someone who has used it to great effect – the Magnum Photos legend Josef Koudelka. 

Camera College is our accessible guide to the technical aspects of photography. This month we show how taking control of the camera using manual settings can really transform your image-making. 

Our Practical Photoshop section delivers more in-depth tutorials, including four ways you can stylise a black-and-white or colour portrait with mono effects in Photoshop, and how to master Photoshop’s Hue/Saturation control, in Tool School. 

March’s camera reviews are led by the Sigma fp, an exciting new modular camera, and the Nikkor Z DX 50-250mm, a flexible telephoto for Nikon’s full-frame mirrorless system. 

Standard zoom lenses for Canon and Nikon DSLRs come under scrutiny in our group test, while mini-tests cover camera drones and lens cleaning solutions. 

The March 2020 issue of Digital Camera comes with 13 fantastic free gifts 

• Nine all-new photo tips cards on landscapes, creative, action – and more! 
• 33 hand-painted triptych templates for displaying your favourite images 
• Video disc featuring 76 minutes of Photoshop and Lightroom video training 
• Bonus video content – 5 tips for choosing and using a flashgun 
• 176-page Camera Buyer’s Guide ebook packed full of buying advice 
• 32-page guide to The Photography Show (Birmingham, March 14-17)  

Subscribe now

Every issue of Digital Camera magazine is packed with tips, techniques, pro advice, reviews, news and inspiration. To make sure of your copy every month, subscribe at our online shop from just £12.50! 

You can buy limited back issues of Digital Camera magazine in print at our MyFavouriteMagazines secure store.

Alternatively, there are a number of different digital options available, including:

• Apple app (for iPad or iPhone)
• Zinio app (multi-platform app for desktop or smartphone)
• PocketMags (multi-platform app for desktop or smartphone)
• Readly (digital magazine subscription service)

Fujifilm has designed the fastest medium format lens ever – a GF 90mm f/1.4 optic for its GFX medium format cameras, which translates to a lightning-fast f/1.11 lens with a 71mm focal length in equivalent 35mm terms.

It was only last week that Fujifilm made waves by announcing the GF 80mm f/1.7 R WR – which at that point was the fastest commercial medium format lens in the world, at an equivalent 63mm f/1.3. The GF 80mm has been officially added to the Fujifilm GF lens roadmap, and is due for release in 2021. 

The new GF 90mm f/1.4 is obviously still in the development phase, so it may be some time before it reaches production – if indeed it ever sees the light of day (the manufacturer outright cancelled another recent superfast lens, the Fujifilm XF 33mm f/1.0, after it reached the public prototype stage). 

Still, the Japanese patent filing – spotted by Hi Lows Note (by way of Mirrorless Rumors) – is a tantalizing glimpse of what might come. The patent describes a lens with a true focal length of 88.78 mm, an aperture of f/1.44 and a 32.8° angle of view. 

• Read more: The 7 fastest lenses in 2020

Aside from the Fujifilm GF 80mm F1.7 R WR, the fastest medium format lens on the market is the Hasselblad XCD 80mm f/1.9 – making the GF 90mm f/1.4 the speediest by quite some margin.

Some will quarrel that the mirrorless medium format employed by Fujifilm and Hasselblad cameras (43.8 x 32.9mm, equating to a 0.79x crop) are smaller than the full-frame medium format used by true 645 cameras like the Phase One XT (56 x 41.5mm, 0.62x crop). Even so, the fastest Schneider Kreuznach lenses for the Phase one top out at f/2.8 (an f/2.2 equivalent in 35mm terms).

Indeed, you have to look back to the classic Mamiya Sekor 80mm f/1.9 lens for a medium format lens as fast – and that still isn't quite as quick as Fujifilm's new patented lens, even in equivalent full-frame terms! (Obviously we're not counting non-commercial lenses like the Carl Zeiss Planar 50mm f/0.7, as most of us don't have the budget of NASA or Stanley Kubrick!) 

Read more: 

The 7 fastest lenses in 2020 – break the speed limit with glass as fast as f/0.75
Fujifilm GF lens roadmap: all the current and planned lenses for the GFX system
The best medium format camera in 2020: big sensor cameras for experts and pros

Tether Tools has built up a great reputation amongst pro photographers offering a range of cables and contraptions that take out all the stress of tethering your camera to a laptop. You can barely go into a professional studio without seeing the bright orange wires that are the Tether Tools trademark.

But now Tether Tools are offering to cut the wires, and let you shoot cable free with the launch of the Air Direct. Originally shown last year, the Tether Tools Air Direct accessory connects your camera to your laptop over its own wifi network  - allowing you to upload your RAW and JPEG files direct to your computer as you shoot them. 

The dual-antenna 802.11AC Wi-Fi connection has operating distance of up to 60m (200 feet). There is a choice of either 2.4GHz or 5GHz bandwidth. RAW files can be transmitted to your laptop in as little as seven seconds, with JPEGs taking as little as one second. 

It is not Tether Tools first wireless device, but the big advantage of the Air Direct is that it can be used with your choice of tethering software, including pro favorites Lightroom and Capture One Pro. Furthermore, Air Direct can be used with a wide choice of compatible cameras from Canon, Nikon, Fujifilm, Phase One, Sony, Olympus, Panasonic and Hasselblad.

The unit has its own LP-E6 rechargeable battery, so doesn't draw power from the camera - giving a running time of between three and five hours. Set up is made easy, as the Air Direct connects  to your camera's USB port (using a short supplied orange cable), and can be attached to your hotshoe, or to the optional Arca-Swiss-compatible L-bracket, or strapped to a tripod leg.

Although the Air Direct has immediate appeal to the studio photographer, the ability to send an image to a computer at speed and without cables is also of use for professionals working on a location, that, say want to see the images they are shooting on a bigger screen. 

The Air Direct retails for $330/£358.

Read more:

Best cameras for professionals

Best medium format cameras

Best photo-editing software

The best photo-editing laptops

2019 is drawing to a close and we're already looking ahead to the various exciting camera rumors that have been circling the internet recently. However, we couldn't possibly enter the New Year without looking back fondly on the camera news that our readers loved this year. 

From a camera the size of a grain of sand, to a lens that's over five foot wide, there have been some truly fun and bizarre stories in 2019. We've rounded up our top ten favorites to give you a blast from the past before you make your way into 2020…

• Read more: Best mirrorless camera

01. The world's smallest camera

This article from October 2019 on the world's smallest camera was definitely one of our favorites this year. While we're not likely to see the pithily named 'OmniVision OV6948' on the shelves any time soon, this camera is a clear reminder of just how advanced camera technology is getting.

"A specialist medical camera that measures just 0.65 x 0.65 x 1.158mm has just entered the Guinness Book of Records. The size of the grain of sand, it is the camera's tiny sensor that is actually being entered into the record book. 

The OmniVision OV6948 is just 0.575 x 0.575 x 0.232mm and produces a 40,000-pixel color image using an RGB Bayer back-side-illuminated chip. Each photosite measures just 1.75 µm across."

02. The world's biggest lens

On the other side of the spectrum, our story on the world's biggest photographic lens definitely made some waves. Designed for use at the Large Synoptic Survey Telescope, the camera as a whole was budgeted to cost $168 million - so you might not want to put it on your Christmas 2020 list just yet!

"Pictures of what are claimed to be the largest-ever photographic lens have been released... and it sure is a whopper. The lens measures 1.57 meters, or 5.1 feet, in diameter and has been designed for use at the Large Synoptic Survey Telescope (LSST), which is currently being constructed in Chile, where it will be mounted in front a camera with a 3,200 megapixel sensor.

Called L-1, the lens is currently at SLAC, the Stanford Linear Accelerator Center, in California, which is assembling the super-resolution camera for the telescope. The lens is mounted with a smaller companion lens (1.2 meters / 3.9 feet in diameter) in a carbon fiber structure. Both lenses have been designed by the Lawrence Livermore National Laboratory (LLNL), and have been built over the past five years by Boulder, Colorado-based Ball Aerospace and Technologies Corp. and its subcontractor, Tucson-based Arizona Optical Systems."

03. Photographs from a $57,000 camera

Got a spare $57,000? Then you may want to throw it in Phase One's direction, whose medium format Phase One XT camera made waves on the Digital Camera World website when we published this article showing what kind of photos you could expect from this 150MP monolith.

"Photography is an expensive hobby, and cameras are expensive toys – especially medium format cameras. However, even the eye-wateringly pricey Fujifilm GFX 100 at $10,000 / £10,000 pales in comparison to the Phase One XT – the $57,000 field camera with 150 megapixels of firepower.

There has always been a mystique surrounding medium format photography, and the range of Phase One systems sit right at the top of the food chain. So the question is, what kind of photography does a $57,000 camera get you? 

The Phase One XT is designed to be a medium format camera that can be taken outside the confines of the studio – in the vein of the premium performance field cameras of old."

04. iPhone 11 Pro has Steve Jobs' turtleneck

If a $57,000 camera is a little out of your reach, why not console yourself with a $6,000 iPhone 11 Pro that contains a scrap of Steve Jobs' turtleneck. However, that's not the only not-at-all-ludicrous iPhone product you can buy! Our article covers a wide range of products - for the billionaire that has everything.

"Russian luxury phone company Caviar has come up with one of its most meta iPhone releases ever: the iPhone 11 Pro Superior Jobs, which has a real piece of the Apple kingpin's iconic black turtleneck sweater on it! 

It's the latest in the crazy "collaborations" between the Russian company and various celebrities, which also includes Muhammad Ali and Joe Frazier as well as The Beatles, known as the Superior collection."

05. First ever photo of a black hole

Here's one for the space fanatics out there. Back in April, scientists were able to capture the first ever photo of a black hole. Our article on this exciting achievement also has a photo of the gigantic telescope that captured the photo. 

"An extraordinary scientific feat has been achieved, as a revolutionary astrophotography technique has enabled astronomers to capture the first ever photograph of a black hole – a phenomenon that has, until now, been unseeable.

The image depicts the shadow of a supermassive black hole against a disc of glowing gas, 55 million light years away from Earth, at the center of the enormous Messier 87 galaxy in the Virgo cluster."

06. This is why Leica is so expensive

For years you've wondered, and now we can finally tell you. This article explains just why Leica is so expensive - and why its brand has proved to be so enduring. Interestingly, the reason we wrote this article is because someone asked this exact question on our DCW forums - so if you've got a burning question just let us know and we might write a story on it!

"Why is Leica so expensive? It's a question that everyone familiar with cameras and photography has asked, at one point or another. 

It's not necessarily a complaint, certainly no more than someone who follows the automotive industry who might ask why the price of the Bugatti Veyron is so high. So the question "why is Leica so expensive?" is often a genuine question, not just a declarative criticism."

07. This is what a 600MB 16-bit TIFF looks like

The medium format monster Fujifilm GFX100 has the ability to shoot 600MB 16-bit TIFF files, so we just had to write an article on it. Download one of two unprocessed 16-bit TIFF files in our story and bask in the unabashedly huge file sizes. 

"The new Fujifilm GFX100 gets a number of new records for medium format cameras. But its 100 megapixel images do mean large files – and not least because if you shoot in RAW you get a 16-bit option, that records four times as much data as a standard 14-bit RAW file. In face, from our field tests we have found that these 16-bit RAW files take up around 200MB of storage on one of the GFX's two SD card slots.

But if this does not fill up your memory quick enough, the Fujifim GFX 100 gives the option to save these 16-bit RAW files as 16-bit TIFFs using the camera's onboard RAW editor. And these uncompressed TIFFs take up a whopping 600MB of storage!"

08. The Slofie

For any iPhone enthusiasts who were eagerly awaiting the introduction of 5G in 2019, Apple gave them something even better - the slofie! While the iPhone has had slow motion video for a while, it's always been relegated to the back camera. However, the introduction of the iPhone 11 gave us slow motion for the front-facing camera as well. Our story on the matter saw our reluctant staff writer Louise take it for a test drive. 

"The iPhone 11 has a new feature that sounds cheesier than a month old camembert. It's bad enough that the whole world has become obsessed with selfies, without showing people how to shoot slow motion video versions that we have to look at FOR EVEN LONGER. We were sceptical.

It sounds like the simplest, most pointless thing ever – a video you can shoot with the front-facing selfie camera. But when it's combined with the skill of an expert selfographer and the iPhone's extremely slick slo-mo editing (we were testing the new iPhone 11 Pro Max), the results are actually rather brilliant. Louise Carey shows us just how it should be done..."

09. Is this the end of Nikon as we know it?

Our admittedly slightly clickbait-y title on this article certainly drew readers attention, but the information inside was definitely sobering. Nikon's first quarter FY2020 financial results showed a 71% decrease in earnings and an almost 15% drop in revenue. However, with the continued success of the Nikon Z6 and Z7, plus the recent release of the Nikon Z50, we're certain that 2020 is going to be Nikon's year.

"As if there wasn't already enough doom and gloom in the camera industry, Nikon has released its first quarter FY2020 financial results. Hit by a shrinking market and the initial costs of developing Z-mount lenses, Nikon has reported a huge 71% decrease in earnings and an almost 15% drop in revenue. 

Nikon's results presentation says that although it is enjoying steady sales of full-frame mirrorless cameras and interchangeable lenses, its revenue has been affected by the reduced sales of entry and mid-range DSLR cameras in Asia including China. 

Nikon looks set to continue expanding its sales of mirrorless cameras and lenses, but this downward trend of digital SLRs and compact cameras is expected to continue to affect its revenue."

10. Comedy Wildlife Photography Awards

If you want to go into 2020 with a chuckle, then we'd recommend looking over this article from November where we post the funniest photos from the Comedy Wildlife Photography Awards. From dancing penguins to melodramatic squirrels, this story truly has it all. 

"The winning image for the Comedy Wildlife Photography Awards has been officially announced - and it's a real doozy! Shot by Sarah Skinner, the amazing image 'Grab life by the…!' has been awarded the top honor. 

Sarah said, 'It certainly warms my heart to know that this image will spread some laughter and happiness around the world. I am happy to report that this lioness continues to thrive in the pride, having seen her again in October this year. I can only hope and encourage everyone, as a collective, to each do our part in the conservation of all wildlife species, so that future generations can enjoy them… Long may lions walk the plains…'"

Read more

Best Fujifilm cameras in 2020
Best camera for kids in 2020: child-friendly cameras for all ages
Best Sony camera in 2020: which Sony camera is right for you?

Capture One is Phase One's answer to Adobe Lightroom, an all-in-one image organising tool, non-destructive raw processor, photo editor and effects program. It can also work in 'Sessions' mode as a purpose-made studio tethered shooting tool, where it's held in high regard by many professional portrait, fashion and commercial photographers. It's also on our list of the best photo editing software today.

This latest version skips a few version numbers, leaping from Capture One 12 (the 'old' version) to Capture One 20, swapping to what we assume is year-based numbering.

Phase One says this latest version has been developed from user feedback but with a few ideas of its own as well. The improvements are based around the editing tools, both in terms of output quality and overall workflow.

What's new in Capture One 20

Noise reduction gets a boost, with claimed improvements to color and detail retention at high ISO settings. Capture One now tailors the noise reduction for every ISO setting for each supported camera. The noise reduction tool tackles both luminance noise and color noise, and with improved recognition of patterns and edges and improved color accuracy. The Amount slider now has a stronger effect and noise reduction is increased for higher ISO images.

Capture One has always had strong color editing tools, and in this latest version the Basic Color Editor now offers eight color ranges rather than six, and a new Direct Color Editor cursor lets you drag any area on a photo to shift the hue, saturation and lightness of a specific color range.

The High Dynamic Range tool now looks a little different too (the equivalent of the Highlight and Shadow recovery sliders in Lightroom). Now, the settings adjustments are zeroed in the center, so you can make both positive and negative adjustments to either recover detail from the shadows and highlights or exaggerate them and boost contrast. There's no much more control over the way shadows and highlights are recovered and boosted.

Phase One has also modified Capture One's Crop tool for easier crop visualization and transformation. You can crop from the center, rotate the crop/image and use modifier keys to lock the aspect ratio.

Capture One 20 brings sundry other workflow and interface improvements, plus support for some of the latest cameras, including the new Olympus OM-D E-M5 Mark III, Canon EOS M6 Mark II, Canon EOS 90D, Nikon Z 50 and Ricoh GR III. It also adds support for the Panasonic Lumix S1H, Leica V-LUX 5 and (at last) the Pentax K-1 II.

 Capture One 20 pricing and availability

Capture One 20 is available now in several versions. The regular version, Capture One Pro 20, supports cameras from all major camera brands, but there are also cheaper Capture One Pro 20 (for Sony) and Capture One Pro Fujifilm 20 specifically for those camera brands.

You can buy a Capture One Pro 20 licence outright (unlike Lightroom) for $299 (upgrade price $159), while the Sony and Fujifilm versions are much cheaper at $129. Or, if you don't want the up-front cost, you can take out an Adobe-style subscription from $15 per month ($8 per month for the Sony and Fujifilm editions.

If you want to try Capture One 20 before deciding, you can download a fully featured 30-day Capture One Pro 20 trail to help you make your mind up. If you're an enthusiast or pro who puts a big emphasis on image quality, it's definitely worth a look. It's more expensive than Lightroom, but for many the results will justify the extra outlay.

Read more:

• These are the best photo editors for photographers
• On a budget? We list the best free photo editing software
• The best laptops for photo editing

The new Phase One XT is a portable medium format camera that combines Phase One’s ultra-high resolution IQ4 digital back system with a trio of lenses from renowned optics maker Rodenstock via a super slimline XT camera body.

Make no mistake, the Phase One is expensive, hugely expensive, even compared to the best medium format cameras you can buy right now. But it’s not designed for the mass market, or even most professionals (and even if you are one of the pros this is aimed at, you may simply just end up hiring it by the day). 

The Phase One XT Camera System is available right now from Phase One professional dealers worldwide and sells for a hefty $56,990. This price, mind you, does include an IQ4 150MP back, the camera unit and a lens of your choice – plus a 5-year warranty. We tested this 150 megapixel back as part of the chunkier and more traditionally designed Phase One XF IQ4 150MP earlier this year.

The key attraction of this outfit is its portability. This is a lens to be carried around the streets and up mountains - and not optimized for use in the studio. It is a traditional field camera, in fact, reinvented for the digital age. 

The Phase One XT Camera System is aimed at high end landscape and architectural photographers who need the maximum possible image quality but in a more portable camera than those available to date. 

We had a chance to look at and get hands-on with the XT at Berlin Photo Week, and although we did not have a chance to take images then, we managed get out in the field at a later date to try it to its fullest capabilities,  we also have updated our earlier news-focused piece on this camera with some remarks on the handling of the camera - as well as its capabilities

Phase One XT: handling

There are three main parts to the XT System – the IQ4 capture modules, the Rodenstock lenses and the camera itself which acts as a kind of physical interface between them. It's a completely different, modular, design philosophy compared to regular cameras, 

The new camera will be able to use all three of Phase One’s IQ4 Infinity Platform digital back modules, including the IQ4 150MP, IQ4 150MP Achromatic or the 100MP IQ4 Trichromatic. All three have ‘full frame’ medium format sensors equivalent to the the size of the old 645 format and larger than those in cameras like the Fujifilm GFX 100 II and Hasselblad X2D 100C). However, it is the IQ 150MP that is the one being offered in the XT Camera Sytem kit.

The camera body has less to do here than in other cameras as much of the work is done by the IQ4 modules and the lenses themselves (which have integrated leaf shutters). It’s been designed exclusively for the XT system with ‘intuitive’ ergonomics and a dual-action shutter button to support future expansion and customization.

The XT system carries through another key field camera feature – a built-in lens shift mechanism. This can be used to correct converging vertical and horizontal perspective distortion with a shift adjustment of up to 24mm in both axes. 

The Rodenstock lenses have large image circles to allow for this shift movement. On regular cameras, this can only be achieved using dedicated perspective control lenses, but here it’s a standard feature built into the system.

The amount of shift is automatically recorded in the metadata of the shot (as well as being displayed on top-plate display) - ensuring that in post production any darkening at the edges can be compensated for. One architectural photographer we spoke to who has been using the XT, says that the system means his time editing his images has been cut by more than half.

There is no tilt movement available, however... so despite superficial similarities with more technical cameras... this only gives you a certain amount of manipulation over the geometry of your images (and zero extra control over depth of field).

• This is what photos on the $57,000 Phase One XT look like

The camera comes with an Arca Swiss mount, which allows simple and fast connection to the tripod, and has a collar that allows you to switch from landscape to portrait format by simply rotating the set-up without having to take it off the support. 

But the camera is just at home in the hand - surprisingly so - whether to take images, or to hunt out a better camera angle. The tripod foot can even be removed if you want to go tripod-free. Handheld shooting is not quite as absurd as it might sound, as the leaf shutters in the lenses do mean that you don't get the vibration you get with some other medium format cameras.

This is, however, a camera that demands you take your time, if you are going to get the most out if it. With the investment you make in buying (or renting) this camera you do need to take your time to get the image. Perhaps Phase One are reminding of this when you turn the back on... it takes rather longer to fire up ready to take a shot than you will find on almost any other camera.

Conversely, the camera has been designed to write the 150 megapixels of data at a decent speed - with the option of an XQD memory card, in addition to a secondary SD slot.

Sample images

Phase One XT: verdict

This is a unique camera in the digital era, that offers a field camera that can offer 150 megapixels of resolution in a kit that you can use for landscape photography missions, or for single-handed architectural assignments. 

The modular design means you can opt for less luxurious backs if the client's budget is tricky, originally launched with three lenses all of which have shift movements for adjusting converging verticals, and the additional benefit of integral leaf shutters, there are now 6 high-end lenses available to use which consist of XT 23mm f/5.6, XT 32mm f/40. Tilt, XT 40mm Tilt, XT 50mm f/4.0 Tilt, XT 70mm f/5.6, and the XT 70mm f/5.6 Tilt.

These offer everything from an ultrawide and telephoto, despite the huge price, and the possible limitations, there are enough people who want and need this camera, that it is almost inevitably going to remain on backorder for a long time.

Read more:

• These are the best medium format cameras available today
• We pick the best cameras for professionals
• The best cinema cameras
• The cheapest full frame cameras you can buy

Medium format specialist Phase One is teasing an announcement for next week – one that it says will be for something "extraordinary".

A teaser website was launched by the company with a countdown to Tuesday 10 September – already a packed day for product launches, including the iPhone 11 – and also released an enigmatic 14-second video - see below. 

There is precious little information on the teaser website, other than the tagline "seek extraordinary", or in the video, which consists of fleeting, heavily shadowed glimpses of a blue shutter button and a nondescript lens. 

Given the dearth of information, we can only speculate as to what the announcement might be – though we can probably exclude anything really out there, like the idea that Phase One will release an APS-C camera. 

As a purveyor of professional medium format cameras, such as the $50,000, 150-megapixel Phase One XF IQ4 150MP, it's safe to assume that the announcement will relate to a medium format product. Phase One already leads our guide to the 10 highest-resolution cameras you can buy today

Furthermore, Phase One produces full-frame medium format cameras. These possess sensors that are larger than the cropped medium format sensors found in the Hasselblad X1D 50C (though Hasselblad does produce a full-frame medium format DSLR) and Fujifilm G cameras including the Fujifilm GFX 100.

We therefore see a couple of likely possibilities. The first is that Phase One releases a smaller, cropped medium format body, with a cheaper price point – a more mainstream product that can compete with the emerging affordable medium format models such as the Fujifilm GFX 50R. 

This, however, seems a distinctly un-Phase One-like move. Something more plausible – especially given that it is promising something "extraordinary" – is that the company embraces its high-end, full-frame medium format strengths and unleashes a brand new image sensor. 

Since Phase One already produces cameras with 150 megapixels, it isn't out of the realm of possibility that it could break the barrier with a 175 or even 200MP image sensor. This would be truly unique in the marketplace and, indeed, extraordinary.

Of course, the last time a medium format camera manufacturer promised "the next chapter of our legacy", Hasselblad simply gave us a $5,750 refresh of its existing 50MP camera. 

We don't expect Phase One to deliver anything quite as underwhelming, but something as extraordinary as a 200MP sensor is a big ask, so we'll rein in our excitement until Tuesday rolls around…

Read more: 

Phase One XF IQ4 150MP review
Phase One announces new 150MP medium format system with $50,000 price tag
The best medium format camera in 2019: large sensor cameras for experts and pros

Phase One has just announced a huge 65% student discount on its professional image cataloging, organising and processing tool. A close rival to Lightroom, Capture One is renowned for its tethered shooting capabilities, editing tools and the quality of its raw processing, and it’s used widely in professional and commercial photography.

If you’re a student, or you know someone who is, it’s an opportunity to use one of the industry’s best photo editing programs for less than the cost of an Adobe Photography Plan, which starts at $9.99/£9.98 per month. Adobe does offer its own student discounts but only on its All Apps plan, which is more expensive. 

‘’See Beyond. Trust your vision. Trust your tools”

Under this scheme, qualifying students (see the Capture One website) will be able to get Capture One Pro for a monthly subscription of $7/£7 or an annual pre-paid subscription of $63/£63 – the discount applies to Capture One subscriptions, not the perpetual licence version. 

Software subscriptions are not popular with all photographers, but they do offer a much cheaper entry point for professional software than traditional one-off licence fees.

Students can get involved with this new Capture One initiative by sharing their work on Instagram under the hashtag #trustyourvision, and joining a new dedicated Capture One Creative Lab - Students Facebook group.

If you’re not a student, by the way, but you do use Fujifilm or Sony cameras, you still have until the end of August 2019 to get a perpetual licence for Capture One Pro for Sony or Fujifilm at half price.

You can find out more about this Capture One student scheme on the Capture One website.

Read more:

• These is the best photo editing software right now
• These are the best photo-editing laptops
• On a budget? Take a look at the best free photo editing software 

Canon's next full-frame mirrorless camera will be a high resolution version of the Canon EOS R – and, according to the latest report, it will have a megapixel count "way beyond the Sony A7R IV". 

That would mean Canon's next R-system camera has a resolution higher than the 61MP of the A7R IV – giving credence to the rumors that it could be in the region of 70MP… or even higher. 

Canon Watch's report about the upcoming camera, still expected to be revealed this year, jives with earlier stories about a 70MP Canon EOS R with image stabilization, and potentially even a rumored 100MP Canon EOS R. 

Indeed, if we're to take that quote as our reference, 100MP certainly seems more "way beyond" the A7R IV's 61MP than 70MP does – though we still firmly expect that a 70 or 75MP sensor is far more likely. 

A megapixel war has been brewing ever since the Sony A7R IV was announced in mid-July, followed by the news that Nikon had agreed to buy the very same Sony sensor for a 61MP Nikon Z8. 

This puts the resolution of the next generation of full-frame mirrorless cameras in the same ball park as medium format cameras. In fact, the A7R IV and Nikon Z8 outmuscle every medium format body except for the 64MP Leica S3, the 100MP Fujifilm GFX 100 and the 150MP Phase One IQ4. 

We already know that Canon produces both a 63 megapixel and a 120 megapixel full-frame sensor; while neither are for consumer use, it demonstrates that the company is already adept at producing ridiculously high-resolution image sensors. 

With the camera giant still set to release the final three lenses on the Canon RF lens roadmap that it promised for 2019, it could be saving the big reveal of its new powerhouse EOS R to coincide with one of the big new lenses. 

Keep an eye on our camera rumors page for a roundup of all the latest rumors and reports!

Read more:

Canon EOS R review
The 10 highest-resolution cameras you can buy today: ultimate pro cameras
New Canon EOS R due in 2019 with 70MP sensor, IBIS, dual card slots