EQUIPMENT

I highly recommend Mark Dubovoy’s characteristically insightful assessment of the best medium format systems found on a recent post on Luminous Landscape. Of course, I always think those who see things my way must be brilliant.

http://tinyurl.com/2f25q5g

After spending time with the Leica S2, I concluded it was by far the best handling medium format camera system, blessed with astonishing glass and resolution that seems to exceed its nominal 37.5 megapixel stats. I had no complaints but Leica upgraded the firmware, all to the good.

Some of the improvements don’t mean much to the way I shoot. I don’t care about increased tethering speed, for example. Autofocus works faster, improving the Leica’s class-leading speed, and the interface offers more custom settings. However, a few new features refine control and speed shooting in ways that matter most to me.

1. The histogram is now larger and easier to read. More importantly and unlike any other display I know, it reflects RAW data, not a jpeg representation. As someone who usually exposes to the right to get the maximum amount of information in a file, this is indispensable.

2. The clipping points for shadow and highlight on the histogram can be set by the user. Again, this is invaluable.

3. User profiles now include Drive mode. One can set up all parameters for a given situation. A landscape photographer can instantly switch from his preferred set up- single shot, mirror lock up, manual focus, manual exposure- to fashion mode- auto focus, aperture priority, high speed drive, etc- in a matter of moments.

Once again, Leica sets the standard for usability.

Leica S2 Firmware Press Release:

Germany (December 22, 2010) – Leica Camera AG has released a new firmware update for the Leica S-System. All LEICA S2 and S2-P cameras will now be supplied with the latest firmware version. Users wishing to bring their camera up-to-date can now download the firmware update from the “Owners Area” on the Leica website and take advantage of the latest improvements.

“Our close cooperation with photographers gives us not only an opportunity to constantly develop and improve the Leica S-System, but also allows us to address the precise needs of professional photographers. Therefore, the latest update, FW 1.0.0.24, includes quite a number of suggestions and wishes determined during discussions with professional users. The result is a wide range of improvements for applications, features and functions as well as the handling of the S2,” reports Stephan Schulz, product manager for the Leica S-System at Leica Camera AG.

The FW 1.0.0.24 firmware update enables a multitude of enhanced camera functions. These include, for instance, lossless DNG compression. This offers particular benefits by reducing file sizes from around 75MB to around 40MB and increasing the burst-rate capability to 14 consecutive exposures (at 1.5 frames per second). Both of these factors depend on the image content. At the same time, DNG compression leads to faster file-saving and transfer times when shooting tethered. Further new features of the firmware update are a new maximum exposure time of 125 seconds, shutter speed section in bulb mode (with the new firmware, the setting wheel can now be used to select the shutter speeds directly) and a setting option for highlight and shadow level warnings.

Existing camera functions have also been improved in the firmware update FW 1.0.0.24. This applies, for instance, to the histogram display in automatic review mode. This display option has now been enlarged for improved legibility. Furthermore, the update also allows the expansion of memory card compatibility to include 64GB UDMA6 cards and offers additional setting options for the AF/AE memory button. Autofocus precision has increased even more and focusing on very small subject details is, above all, greatly improved now.

Nick Devlin wrote an initial review on Luminous Landscape of the Pentax 645D 39 megapixel medium format camera- ( http://www.luminous-landscape.com/reviews/cameras/pentax_645d___a_first_review.shtml ) -and followed it up with a shoot out between the Pentax and the Phase One 40+ system with Mark Segal, ( http://www.luminous-landscape.com/reviews/cameras/2010_mini_medium_format_shoot_out.shtml ). In both cases, the Pentax was roughly the equal of the Phase One in image quality, sometimes a hair better, sometimes a bit worse. The interface looked completely transparent, but Nick encountered some operational glitches.

This camera resets the price /quality equation. There are a host of legacy Pentax lenses available, many on Ebay for a song, so the cost of entry to the medium format world has dropped.

Mamiya released their latest camera, the RZ22, a 22 megapixel version of their  digital re-imagining of the classic RZ 6×7 medium format camera, the RZ33.  The Press Release follows.

PRESS RELEASE: Mamiya Announces New RZ22 Digital Camera

Elmsford, NY – October 28, 2010 – Mamiya announces today a new RZ digital camera designed to enable professional photographers to utilize the superior flexibility of the open-platform Mamiya RZ system, at an exceptional price. The new RZ22 Digital Camera couples the latest technological improvements of the 22 megapixel, large sensor Mamiya DM digital back with the latest Mamiya RZ67 Pro-IID camera, delivering the same ease-of-use as Mamiya’s popular RZ33 system, all for only $11,499.

“Photographers were thrilled by our introduction of the RZ33 system, and many have indicated that they would like the option of an equally easy to use digital RZ system at a lower price point. The new RZ22 digital camera delivers just that: a powerful large-sensor digital camera delivering superior quality image files with the legendary flexibility of the Mamiya RZ camera system,” said Mamiya Product Marketing Manager Mike Edwards. ”Photographers can even utilize their existing Mamiya RZ system lenses, which are known as some of the sharpest, highest resolution lenses available.”

About the Mamiya RZ22
The Mamiya RZ22 is a new large-sensor digital camera kit combining the high performance 22 megapixel CCD sensor of the Mamiya DM22 digital back with the latest RZ67 Pro-IID camera body, plus a Mamiya Digital Interface kit and focusing screen. With no cables necessary, RZ22 users simply add their favorite razor sharp RZ lens and a CF card, and they are ready to produce large, detailed images at shooting speeds of up to 70 frames-per-minute. The RZ22 leverages the large availability of lenses and accessories from the previous generations of the Mamiya RZ67 family, allowing photographers to utilize premium-level equipment they already own.

Pricing and Availability
The new Mamiya RZ22 digital camera kit, including Capture One and Leaf Capture software, is now available in the U.S. for $11,499, from authorized Mamiya Digital dealers.

Phase One is offering amazing trade ins for the latest gear, up to 90 per cent for customers who want to upgrade a back within 6 months. The press release follows:

COPENHAGEN, September 29, 2010 – Phase One, a leading provider of medium format digital camera systems, today announced an unprecedented new-product investment protection plan.

Effective immediately, Phase One is offering customers security when they buy a Phase One product. Now customers are guaranteed first class investment protection should they wish to upgrade to future Phase One innovations as new products are launched over the coming years.

Eligible customers who have purchased their products from an authorized Phase One partner and wish to upgrade to a new product within 6 months of its official launch, are guaranteed to receive:

• 90 percent of their original purchase price against any new Phase One digital back launched at a higher price within 18 months of the original purchase date.
• 50 percent of their original purchase price against any new Phase One camera body launched at a higher price within 24 months of the original purchase date.
• 50 percent of their original purchase price against any new Phase One or Schneider Kreuznach lens for the Phase One 645 camera platform launched at a higher price within 24 months of the original purchase date.

“Engineering and development is Phase One’s biggest investment,” said Henrik O. Håkonsson, CEO and President of Phase One.  “And we are eager to reward customers who have faith in us and invest in our products. Through this Loyalty & Investment Program, we are inviting them to share the benefits of our passion for driving technical breakthroughs and delivering the best possible products to market.”

Phase One professional camera equipment is available only through authorized Phase One partners worldwide. For further details, including how the protection plan works for the purchase of fully-configured camera systems, please see the partner closest to you: http://www.phaseone.com/en/Try-and-buy/Partner-Locator.aspx.

Hearing Mark Dubovoy talk about extracting maximum resolution at the PODAS Iceland workshop was revelatory. He starts with the best glass and a state-of-the-art back. A technical camera equipped with an excellent view camera lens has inherent advantages, including freedom from vibration and a favorable lens to back relationship. Alpa notes that misalignment between the back and lens, possible for a number of reasons, degrades sharpness. They offer shims of thickness down to 1/100mm to align the back with the back adaptor.

Installing the correct thickness is an interative process, adding and subtracting shims and reviewing the results like an optometrist trying lenses of differing strength with a phoropter to find the right prescription for a given patient’s eyes.

The improvements can be startling, pushing what was already the sharpest system into a new level of clarity. Mark showed projected images of before and after shimmed shot, and even with the smearing one would expect on a screen, the improvement was visible.

The best digital medium format backs can deliver more resolution than cameras and lenses currently allow. Fortunately, uncompromising companies such as Alpa and Phase continue to push the standard ever higher.

After more than 20 visits to SE Asia, Burma and Cambodia  continue to attract me the most. I look forward to returning on this Joseph Van Os Photosafaris trip, digital medium format gear in hand, to give the monuments and engaging people their photographic due.

I love the resolution and impact of medium format images and always have. For years I hauled 6x7s around the mountains of the west, into East Africa, and across SE Asia. Canon 1DS pulled me back to 35, but the latest digital medium format systems re-established medium format dominance. I’ve worked to push the limits of the format, shooting aerials, from mountaintops, tracking wildlife in Madagascar, and documenting religious festivals in India and Singapore, a form of extreme street photography. I look forward to shooting relatively quiescent subjects, the temples and peoples of SE Asia. Several manufacturers have agreed to provide our clients with medium format cameras to use on this tour. I will explain how to extract the maximum resolution from the state-of-the-art contenders and conduct brief critiques.

1000 years ago two great empires rose in Southeast Asia, the first Burmese empire  situated along the Irrawaddy River at Bagan  and the  Cambodian Khmer Empire at  Angkor, now Siem Riep. They are among the finest archaeological sites in Asia and very different in character. Bagan is a dry 16 square-mile plain dotted with hundreds of small shrines and dozens of larger temples while Angkor adheres to  the Indiana Jones model, with ornate temples and palaces emerging from the jungle. Evidence of the co-mingling of religion and power is seen everywhere. Burma and Cambodia have become my favorite places in Southeast Asia both for the architecture and even more for the cultures that live today. I always arrange for models in both countries: dancers, farmers, monks, ladies with parasols.

BURMA

Any trip to Burma, dubbed Myanmar by the military junta, begins in Yangon, the former Rangoon. This is the largest city in the country, but compared to metropolis like Bangkok or Singapore, it feels like a backwater. It is home to the Schwedagon, an immense  pagoda covered with more gold than the reserves of the British government. The stupa itself is ringed by a tile walkway bracketed by small shrines and miniature pagodas on either side. In the late afternoon worshipers pray before the various Buddhas or walk in a row sweeping with hand made-brooms. As dusk falls,  they light candles, and the golden dome glows against the darkening sky. Although this is a Buddhist site, some of the worshipers are giving offerings to spirits called nats, the remnants of the pre-Buddhist animist culture.

Burma is a country of monks. Almost every male spend some time in the monastery studying Buddhism as a boy, and some follow the calling for life. In Mandalay at the Amarapura  monastery, we will watch monks line up to receive rice for their daily meal. The monastery grounds are open to the public, affording a glimpse into their daily lives.

Mandalay, is full of rich subjects. The city surrounds the Mandalay Palace with its wooden parapets and tree-lined moat. U Bein Bridge is the longest teak bridge in the world. At sunset a stream of people walking bicycles, carrying bags, or balancing baskets on their heads are silhouetted and reflected in the lake. Kuthodaw Pagoda is comprised of a small forest of spires, each covering one of the collected sayings of the Buddha. A short boat ride away lies Mingdun, the massive base of what was to be the largest pagoda in the world, now abandoned and in ruins, an architectural Ozymandias cautioning against hubris.

Bagan is the highlight of any trip to Burma. Near dusk and dawn we will climb to the top of a temple to get an expansive view of the plain. There are temples as far as the eye can see. The spire of Ananda covers four giant golden Buddhas, Dhammayangyi is a hulking structure while Gawdawpalin near the river bank exemplifies grace. At dawn and dusk the reddish stone of the buildings looks like hot coals against a dark backdrop.

Cambodia

At the height of its power, the Cambodian empire was the most powerful on the Southeast Asian peninsula. The kings devoted themselves to building palaces, temples, and a wide range of civic projects. The architecture reflects the many influences of  various religions and cultures found along the Bay of Bengal. The original inhabitants were Hindu which can be seen in the bas relief carvings of the earliest buildings, but Mahayana Buddhism took hold and later emissaries from the island of Sri Lanka brought Theraveda Buddhism to the country, which eventually spread throughout Southeast Asia.

I never tire of photographing Angkor Wat. This and other popular sites are best seen early in the morning before the crowds descend upon them. Dozens of lesser known temples surround the main archaeological sites, some still within the grasp of the jungle looking much as they did when the French archaeologists first explored here more than 100 years ago. In these quiet places I make time to stop shooting and sit like Edward Gibbon in Rome’s Capitoline Hill contemplating the grandeur and collapse of a dominant civilization.

Ta Prohm and Preah Khan retain some of the original character the first Europeans encountered when Angkor was discovered by the outside world. Trees are rooted to the walls, and we can thread through collapsed rooms and around fallen pillars while Banteay Srey, a small jewel of a temple, remains in impeccable condition, its bas-reliefs often pristine. Crowds swarm Bayon’s tower, but dozens of smaller temples attract few or none. I always try to visit at least one hidden gem on each trip. I haven’t been disappointed yet.

While Cambodia has transformed itself in the last decade, attracting armies of tourists, Burma remains stuck in time. Both will probably change beyond recognition within a few years, but as of today, they offer the richest experiences in SE Asia.

For more information or to sign up for the Cambodia and Burma Digital Medium Format Adventure, go to:

http://www.photosafaris.com/photography-trips-2011/cambodia-myanmar-photo-tour/

I had the pleasure of shooting with Leica’s S2 medium format camera. What a delight. It feels only slightly larger than my Canon 1DS Mk 2 but delivers images that seem to exceed its already generous 37.5 megapixels. I imagine the quality of the legendary glass has a lot to do with the image quality. Resolution aside, it was the ergonomics and intuitive layout that roused my interest. The layout is uncluttered and what you need, for the most part, is easily at hand. The menus are logically arranged and described in plain English. In short, I could figure out how to do almost everything without recourse to the manual, a real plus for someone who struggles with the menus on digital watches. Finally, this is the first digital medium format camera that benefits from a neck strap. It’s light enough to treat like a 35mm SLR. Details to follow.

Phase One recently acquired Microsoft Expression Media, an enhanced build of iView Media Pro, a photo database competing with the likes of Lightroom and Aperture. Many predicted the eventual merging of Phase One’s Capture One software, a leading RAW file converter with a host of image editing capablilities. With the announcement of Capture One 5.1.2, that integration has begun. It is now easy to send a selection of Capture One images to an Expression Media catalog, including ratings, to preview images in Expression using the Capture One rendering, and to create a Capture One album from an Expression Media search of the database.

Registered Capture One users are eligible for a free copy of Expression Media while Expression Media owners can acquire a free copy of Capture One. This offer expires at the end of June, 2010.

Phase One has also increased support for Leaf digital backs and files, which makes sense given that they bought Leaf a year ago.

For more information, see the Phase One press release at:

http://www.phaseone.com/en/News/Press-Room/Press-Releases.aspx

Mamiya has unveiled a digital version of their classic RZ camera. Although the camera’s sensor is smaller than the film versions 6x7cm, the camera accepts all the original lenses. The press release reads:

Mamiya Introduces the New RZ33 Medium Format Digital Camera
Brings legendary Mamiya RZ system into the large-sensor digital arena

Elmsford, NY – June 2, 2010. Mamiya announces today the new Mamiya RZ33 large-sensor digital camera kit for professional photographers. The Mamiya RZ33, featuring a high performance 33 megapixel CCD sensor, advances the long adored Mamiya RZ line to a new level, bringing the famous ease-of-use and versatility of the Mamiya RZ camera system to the large-sensor digital arena. With no cables necessary, RZ33 users simply add their favorite razor sharp RZ lens and a CF card, and they are ready to produce big, detailed, gorgeous images.

“The RZ camera system has always been a favorite of professional photographers around the world,” says Mamiya Product Marketing Manager Mike Edwards. “Now, what has been a favorite film camera for so many photographers through the years is poised to become their favorite digital camera. The new RZ33 brings all the ease-of-use advantages of the tried and true RZ camera system to large-sensor digital photography while making tremendous use of the existing line of world-renowned Mamiya RZ optics and accessories.”

With the demand from photographers to provide their clients with clearly superior digital image quality, Mamiya’s new RZ33 digital camera kit is the result of an evolution into the next generation of digital large-sensor cameras. It offers advanced microprocessor technology for direct communication of all camera functions to its 33mp digital back through its MSC (Mamiya Serial Communication) system. The result is cable-free digital operation just as smooth and trouble-free as shooting with film.

The new Mamiya RZ33 is ideal for existing Mamiya RZ system owners that already know and love the system as well as those professionals looking to add the quality of medium format photography to their workflow. It features cable-free integrated-operation, a large 33 megapixel CCD sensor, is fully compatible with all Mamiya RZ system lenses, viewfinders and most accessories. Of course, the RZ’s legendary Vertical-Horizontal rotation is built-in so there is no need to ever turn the camera.

The new RZ33 also offers professional photographers the same exclusive features of its legendary predecessors such as:

Precise Rack and pinion bellows focusing, with left and right course and fine focusing adjustment knobs plus a locking focus lever. The bellows focusing system provides for close-up focusing capabilities with every RZ lens, as well as infinity focusing—all without mounting-andunmounting cumbersome adapters.

Interchangeable Mamiya world-class quality lenses, with built-in leaf-shutters offer shutter speeds from 8 to 1/400sec. (plus T-setting for up 32 seconds). Electronic flash synchronization is achieved at all shutter speeds and intermediate shutter speeds can be set on the camera’s speed dial setting for more critical digital exposure control.

Interchangeable Viewfinders, offer multiple viewing options. Choose from the waist-level finder (included) for low-angle versatility, or one of the eye-level prisms, such as the AE Prism Finder FE701 which provides A/S Matrix metering, 1/6 f/stops exposure accuracy plus an LED function display in the viewfinder.

Interchangeable power winder (optional). The Power Winder 2 is powered by AA batteries or an AC Adapter and adds ease of use by cocking the shutter and resetting the mirror automatically. It produces single or sequential exposures at about 1 frame per second. It can also be remote controlled with radio or infrared transmitters.

Many fail-safe system checks, warn the photographer both with visual and audible warning alert signals. And, the new RZ33 is system compatible with all existing RZ lenses and most accessories.

Specifications Highlights
Capture File Format: .mos RAW file, 16 bits/channel
Included Capture Software Packages: Capture One DB and Leaf Capture
CCD: 48 x 36mm, 33 Megapixel
Largest file size: 190 MB 16 bit TIFF
ISO: 50-800
Capture rate: 1.1 sec/frame
Digital imaging user interface: 2.4 x 2.7 inch (6x7cm) LCD touchscreen

Pricing and Availability The new Mamiya RZ33 digital camera kit, including Capture One and Leaf Capture software, will be available in the U.S. for $17,990 and will begin shipping in July 2010.

Leica has released the 35mm f/2.5 ASPH lens for the S2 medium format system.

This is the first wide angle available for the new Leica S2 system, and it makes it a viable landscape camera. The angle of view is equivalent to a 28mm for 35mm photography.

This is a very fast lens in the medium format world.

The lens will cost less than $6,000 and is scheduled to be released later this month.

For the specifications of the lens, look here: http://www.s.leica-camera.com/summarit-s-1-2-5-35-mm-asph-cs/

Tags: 35mm landscape Leica S2

If you shoot a digital camera with interchangeable lenses, sooner rather than later you’ll notice motes on your images—the effect of dust on your sensor. Frequent, obsessive cleaning is a fact of life with digital cameras. Fixed lens cameras deny dust entry to the chamber, so their sensors remain clean, but these don’t exist in the digital medium format world.

The dust doesn’t accumulate on the sensor proper. A glass cover or filter protects the sensor from damage and dust. This surface can be scratched, smudged or otherwise degraded, and the first rule of cleaning is, “Do no harm.”

Before touching the sensor glass with anything, try blasting it with air. The safest method involves a hand-squeezed blower bulb. It’s hard to get enough force with small bulbs so look for one that fills the whole hand.

Some folks use compressed CO2 gas, but this is a mistake. Ordinary compressed air contains propellants that accumulate on the sensor surface and must be avoided. Also, CO2 cartridges designed for air rifles contain additives that may cause problems. CO2 cartridges produce a very strong stream of air. While CO2 gets the dust moving, it can also force it into inaccessible parts of the camera. Finally, CO2 cartridges are not welcome on airplanes these days.

The Sensor Brush from Visible Dust of Canada is the most effective and easiest solution for removing dust and other particulates in my experience. Various sizes are available for use on different-sized sensors. The brushes are reusable and washable. I use an older Arctic Butterfly equipped with the largest brush. The newest models come with an attached light so you can see dust easily.

Before and after use, press the button so the bristles spin rapidly, This throws dust from the bristles and gives them a positive charge so they readily attract dust. Sweep across the sensor once in one direction and then back. Spin the bristles again to clean and charge them before sweeping again. Repeat as needed. If the bristles acquire bits of gunk that blasting won’t remove, wash the brush with mild soap or isopropyl alcohol. (Don’t use methanol. It will destroy the bristles.) Available in a variety of sizes, sensor brushes make it easy to clean digital sensors.

Moisture can create spots the brush can’t remove. Just breathing on the sensor transfers moisture and any dust will bond to the sensor. When this happens, a liquid solvent must be used.

I’ve always had a problem using swabs and liquids. With my lack of dexterity and inability to apply just the right amount of fluid, I end up with streaks that take many frustrating minutes to eradicate. Sensor Swabs from Photographic Solutions and Sensor Clean from Visible Dust minimize streaking. Shaped like miniature white brooms, the swabs allow for a precise application of cleaning solution. Each swab can be used twice. Sweep in one direction, which should cover half the sensor, and then sweep in the other direction with the other side of the swab so that both halves of the sensor receive one swipe. Larger sensors require two swabs. These are pricey gizmos. Use them only when air cleaning fails.

The easiest way to check for dust after cleaning is to shoot a frame of a blue sky or any other absolutely uniform bright or mid-toned subject. Turn off the autofocus, and throw the lens out of focus manually. After downloading, bring the image up on your computer screen and blow it up to 100%. Look for dark flecks and globs on the screen. If any dust remained on the sensor, it will be easy to see. If air or brush cleaning fails after a few tries, use the Sensor Swabs or Sensor Clean.

Sensor cleaning may be the most annoying part of digital photography for many—including myself—but it will gladden the hearts of obsessives!

Visible Dust: http://www.visibledust.com/

Photographic Solutions: http://www.photosol.com/

Phase One added me to their roster of  PODAS (Phase One Digital Artists Series) instructors. http://www.phaseone.com/en/PODAS/Info/Intro.aspx

These workshops are designed to transform one’s photography, from visualization to composition to processing and output. Each participant is given a Phase One P65+ digital medium format system – the current high resolution champ- and access to all the Phase One lenses for use during the event.

I’m scheduled for the Glacier National Park trip June 8th through June 13^th with Jack Flesher and Tim Wolcott ($4995) and Iceland from August 29th through September 5^th with Jeff Schewe, Mark Dubovoy, and Daniel Bergmann ($6500). All expenses are covered from pick up at the airport to drop off at the end.

These are two of my favorite locations and both figured prominently in my book Planet Ice. I’m very pleased to be part of PODAS and look forward to a long and fruitful association.

Whenever I’m told I can’t do something, I instantly bristle. Sometimes it makes sense, and I let it go. If someone tells me I can’t survive jumping off the Golden Gate Bridge, I’m likely to let it pass; however, if I can see a way and judge the benefit worth the risk, I’m likely to give it a shot.

When I started to investigate digital medium format systems, I heard that they were suited primarily for studio work. Since my first love were the high-resolution images produced by the f64 club as exemplified by Ansel Adams, I wanted to take whatever camera I into the field. The Phase One cameras and  backs had a reputation for surviving in wet and rugged conditions so that was my first choice.

I had shot film in medium format cameras for almost 20 years so I knew what I was in for. Operating the camera would slow me down, I would have to wait between shots, I wouldn’t have access to very long lenses, I would miss some great shots. I prefer to nail one fantastic image than bring home a hard drive full of the merely okay.

I decided to take my P45+, a 39 megapixel back, to Madagascar for its maiden trip. My longest lens was a 300 mm, equivalent to about 200 mm in 35mm world. It would work well in situations well-suited to the strengths of the Phase One, but much of the time would be spent trying to capture a skipping lemur, a restive frog, a grumpy chameleon, or a tiny insect with a comparatively balky camera. I packed a 35mm with one lens, a 500, as backup just in case something spectacular happened that the Phase couldn’t possibly photograph.

The camera did spectacularly well, but I started to break down under the weight and stress of trying to master the system in rough circumstances. As predicted, a lot of images got away, especially the moving lemurs. Even chameleons, a specialty of mine, had a chance to march out of view as I fiddled with the camera. But the good images were great. Everything I value technically in a photograph was present: sharpness, exposure latitude, and rich color.

I had to revert to some old techniques. The lenses couldn’t follow focus so I pre-focused on the spot I expected an animal to pass and tripped the shutter when the moment arrived. I got a few serviceable shots.

We found a giraffe beetle under a leaf in the eastern rainforest of Perinet. This exotic creature is about as long as my thumbnail and as strange as any creature in Avatar. The faintest breezes blew the leaf slightly, making it impossible for me to focus. I told the clamp out of my bag, attached one end to my tripod and the other to the leaf. Voila, immobile insect.

Our visit to Baobab Alley on the west coast of the island fit the strengths of the Phase One system perfectly. Nothing this side of a rock beats a tree if you want to take your time creating an image, and the “upside-down trees” both symbolize the island and offer strong graphic elements. The spiny forest of the south is like nowhere else on the planet, with twisting tendrils protected by natural needles. Near sunset their backlit leaves glow.

Madagascar is one of my favorite places on Earth, full of marvels, a photographer’s dream. If I had just one chance to visit, I would probably go for a faster outfit, but given the chance to supplement a large collection or the time to fail several times between each success, I would go for digital medium format.

For a while it looked like Hasselblad and Phase One, which absorbed Leaf and Mamiya as it developed its own world class backs, would have the medium format world to themselves. Now they are seeing some competition from stalwarts from the 35 mm world, first Leica and now Pentax.

http://www.pentax.jp/english/news/2010/201008.html

Tags: Camera Digital Medium Format Pentax