Blog
Feedback from the photography course
It's always fun to see the progress of my workshop groups. Here is the feedback from the last group.
The second photography course in 2021 was also great. Four intensive, instructive days lie behind us. For the first time, we set ourselves the task of creating a pair of images of a person and a second shot and putting them together in Photoshop. Below is a statement from each participant about the course and the photo taken.
You can see my pair of pictures above. It shows René, a man with a hard shell and a soft core ;-). He and his wife Margrit have always actively supported me in running my photography courses over the last few years. Now they are moving away from Rasa, and to be honest I can't really imagine Rasa without René and Margrit. Many thanks to both of you for your active support. I will miss you.
Would you also like to take part in a photography course? You can find more information here to the courses and registration links.
Claudia
«Thank you for the stimulating course. It was fun to get to know the many technical possibilities and to combine them with your own ideas. And all this in a pleasant atmosphere, with a great group and in a wonderful area...»
—Claudia
Liliane
«Again, I enjoyed the atmosphere in Rasa, taking photos, editing the images with its technical refinements and the many inputs. Many thanks to the course management and the participants, it was great working with you!”
— Liliane
Simon
«For the second time, I was able to learn a lot in a relaxed atmosphere, both about photographic design and technology, as well as image editing. Thank you, Peter!"
—Simon
Margaret
"It was great fun, the five days of course with Peter, the group and with countless wow and aha moments :)."
— Margaret
Bettina
«It's not the first course I've booked with Peter. And, as always, it was just great: great course leader who was able to meet everyone where they were and had a lot of patience. Lots of new ideas, possibilities, etc. Great, friendly group, great place. Hoping for a sequel…😉! Thank you Peter, thank you all!”
— Bettina
Mark
«Merci Peter for the valuable tips and tricks. I have rarely learned so much in such a short time.”
— Mark
Verena
«Ticino houses shrouded in fog or illuminated by the evening sun, surrounded by gardens, pastures and chestnut forests. Water that reflects polished stones and mountains or moves wildly. Interesting faces and bodies in motion - all subjects that were photographed from a variety of angles and then classified, developed, captured with a lasso and put into the right light - the results are impressive! We were a really great group and Peter's enthusiasm was infectious. In short: a rich and stimulating photography course!»
—Verena
Rolf
«Anyone who loves photography, wants to improve the technology and is looking for new ideas is in good hands with Peter Schäublin's course. Lightroom and Photoshop are used extensively to optimize the images and with the instructions you can make good progress. The place of rest “Rasa” was also helpful. Isolated from all traffic in an idyllic setting.”
—Rolf
Magical Maggia
Rock and water in magical light, captured in black and white. By the way: All of my photos are available as fine art prints, each limited to a maximum of 50 prints.
There are days when the light simply has a special quality. That's what happened this week when I took photos with the participants of my photography course at the Maggia. The images created inspired me to create a series of slightly surreal black and white images. Here and there mythical creatures can be found in the stones...
My pictures as fine art prints
You can purchase all of my photos as limited edition fine art prints. The photos are printed by me on a high-end printer with 11 colors on the highest quality Hahnemühle fine art paper and then mounted on D-Bond or classically framed behind glass, as desired. Contact me, if you would like to purchase one of my images as a fine art image. The best thing to do is to tell me which motif you are interested in, how large you would like it to be printed and whether you already know whether you want to mount it on D-Bond or hang it traditionally behind glass. Here are a few mockups for inspiration:
Photo shoot in the northernmost vineyard in Switzerland
Photo shoot for Hübscher Wein in the northernmost vineyard in Switzerland. The pictures are for the new homepage that we have also built.
Pretty Wine is one of the great wineries we have here in the region. In the summer we were allowed to use the new one Homepage with online shop for Raphael Hübscher, including the design of the new logo. In the last few months we have taken occasional photos in the vineyard so that Raphael Hübscher has great image material for the homepage. Yesterday Ursula and I accompanied a wine tasting in Switzerland's northernmost vineyard with our camera. Here is a selection of the pictures taken in the warm evening light:
The logo
The homepage with online shop
A visit to the homepage is worth it – and the wines are excellent. Simply order in the online shop … ;-)
Meetingpoint and Bock Verlag
The Meetingpoint on the Herrenacker in Schaffhausen is a new, multifunctional bistro with an XXL screen and the option to hold meetings and book coworking spaces. We photographed the new location on behalf of Betz Design Möbel.
On behalf of Betz design furniture we photographed the stylish new bistro location in Schaffhausen. The meeting point The Herrenacker Schaffhausen is a bistro, networking point, event location and sports bar with an XXL screen all in one. A great concept, perfectly furnished in the interior by Betz. The offices of Bock Verlag are also integrated into the meeting point premises. Certainly one of the most beautiful places to work in Schaffhausen...
How do you like the new website?
We look forward to receiving feedback on the new homepage. We are giving away a copy of our latest book “The Power of the Elements” to everyone who gives us a short comment on the new launch.
Almost exactly 26 years to the day after the company was founded and around 10 years after the last redesign of our website, peterschaeublin.com and 720.ch appear in a new look. We have already recorded some new projects and blog articles and will occasionally integrate content from the old homepages onto the new platform.
If you like, please give us feedback on how you like the new website using the contact form below by the end of August. We take the liberty of summarizing a selection of feedback in a blog article without attribution. We are giving away a copy of our photo book “The Power of the Elements”, which is limited to 99 copies, among all participants.
My feedback on the new website of 720.ch / peterschaeublin.com:
Photo shoot for Leonie Küng and KIA
Great photo shoot for the tennis player Leonie Küng and KIA
We have been able to support Leonie Küng in the area of visual communication since she was a junior. Now she has got a great sponsor in KIA, and it was a great honor for us to photograph the official handover of the new KIA to Leonie. There is more information about Leonie on her Facebook account.
My favorite picture from the shoot:
More photos:
The influence of the lens on the image result
Five lenses with almost identical focal lengths in the test: How much does the choice of lens influence the image effect?
Does the choice of lens have a greater influence on the image result than a few megapixels more or less?
This question was after that big high-end camera test, I together with my friend Christian Habermeier have carried out, in the room. Theoretically it is clear that the choice of lens will have an influence. But how big is he? I wanted to investigate this question, and through fortunate circumstances I was able to test five very different lenses in the focal length range of 70/75 mm. Thank you very much at this point Leica Camera AG Switzerland and Photo Vision Zumstein for the loan lenses and also a big thank you to Iris Michel, Eva Küng, Simone Meylan and Sam Bregenzer.
The 75 mm focal length is very exciting in my opinion. A 75 can be used as a normal focal length, but also as a portrait focal length. That makes it very universal. Thanks to the high resolutions of today's sensors, you can cover a lot with a 28 mm or at most 35 mm and a 75 mm, for example, because you can also "simulate" other focal lengths by cropping the image section. Taking a 50mm section from an image with a 35 mm lens or choosing a 90mm section from an image with a 75mm lens is easily possible with cameras with up to 50 megapixels.
The protagonists
I carried out the test with my Leica SL2, so all lenses can be connected to the L-mount directly or via adapters. Starting from left to right:
01 // voigtländer 75 mm / 1:1.5 nokton vm (aspherical)
Focal length: 75mm
Length: 63.3mm
Number of lenses: 7 lenses in 6 groups
Largest aperture: 1.5
Smallest aperture: 16
Closest focusing distance: 0.7m
Filter diameter: 58mm
Focus: manually
Weight: 350g
Price: CHF 998
Special: very attractive ratio of max. aperture / weight / price
02 // leica summary-s 1:2.5/70 asph. (cs)
Focal length: 70mm
Length: 93mm
Number of lenses: 8 lenses in 6 groups
Largest aperture: 2.5
Smallest aperture: 22
Closest focusing distance: 0.5m
Filter diameter: 82mm
Focus: Autofocus
Weight: 740g
Price: CHF 4640 (normal version) CHF 6030 (CS version with built-in shutter)
Special: The lens is designed for the (larger) Leica S sensor and therefore has a larger image circle
03 // Sigma 70mm f2.8 DG Macro
Focal length: 70mm
Length: 70.8mm
Number of lenses: 13 lenses in 10 groups
Largest aperture: 2.8
Smallest aperture: 22
Closest focusing distance: 0.258 m
Filter diameter: 48mm
Focus: Autofocus
Weight: 605g
Price: CHF 648
Special: macro
04 // Leica Noctilux-M 1:1.25 75 mm Asph
Focal length: 75mm
Length: 91mm
Number of lenses: 9 lenses in 6 groups
Largest aperture: 1.25
Smallest aperture: 22
Closest focusing distance: 0.85m
Filter diameter: 67mm
Focus: manually
Weight: 1055g
Price: CHF 13,860
Special: brightest 75mm available
05 // Leica Apo-Summicron-SL 1:2/75 Asph
Focal length: 75mm
Length: 102mm
Number of lenses: 11 lenses in 9 groups
Largest aperture: 2.0
Smallest aperture: 22
Closest focusing distance: 0.5m
Filter diameter: 67mm
Focus: Autofocus
Weight: 720g
Price: CHF 5350
Special: Other lenses with the same housing and the same maximum aperture and characteristics available (currently 28/35/50/75/90 mm, planned 21/24 mm)
The test idea
As always with my tests, this time it's all about testing the equipment in practice. There are a few shoots scheduled for the test weekend: a portrait of a painter friend, a photo shoot with my friend Sam's 1969 Dodge Charger R/T 440 Magnum plus two more portrait shoots. In addition to the camera/lens combination that I normally use, I take some pictures in which I photograph a subject setting with all test lenses. I didn't experience any extreme backlighting situations or anything like that, but I think you can estimate the characteristics of the five lenses quite well.
Before I go into the individual lenses, here are four test panels where you can see excerpts from the shots I took with all lenses. I worked with the aperture fully open in three test situations. The maximum aperture varies of course, but high aperture is an essential criterion when buying a lens. From my point of view, it wouldn't have made sense if I had tempered all the light giants down to aperture 2.8. The sinfully expensive Noctilux in particular should and must be able to demonstrate its advantages:
Test table 1
Cockpit of the Dodge Charger R/T 440 Magnum
All images are unedited
Test table 2
Fig tree leaves
All images are unedited
Test table 3
Eve
All images are unedited.
Test table 4
iris
All images are unedited
Practical notes on the individual lenses
01 // Voigtländer 75 mm / 1:1.5 Nokton VM (aspherical)
I would have expected a lens with such a high aperture to be larger and heavier. The Nokton weighs just 350 g and is priced at a level you wouldn't expect. Personally, I think that the lens offers extremely good value for just under 1000 francs. Even with the aperture open, the performance is very good. It draws a little harder than the Leica Noctilux, but softer than the other lenses. This makes it an ideal portrait lens that you can easily take with you, especially because it is so small. Precise manual focusing was a challenge for me. With the aperture fully open I produced quite a bit of waste. Some of the images weren't much off and could easily be published on all electronic channels (Facebook, Instagram, etc.), and an A4 print would also be possible for many of them. But my aim is to make full use of the sharpness performance of a lens, and my error rate with the manually focusable lenses is significantly higher than with the AF models. Maybe it's a matter of practice. I'm attaching an edited image for each lens, since that's what you normally do with photos. You edit them before you publish or print them. For the Nokton I chose an image from the Iris series. With the aperture fully open there is a beautiful bokeh, and the slightly softer drawing is great for the portrait of the great artist.
Edited image
Voigtländer 75 mm / 1:1.5 Nokton VM, 1/50 sec, f 1.5, 200 ISO, daylight
02 // Leica Summarit-s 1:2.5/70 Asph. (CS)
I admit, the Summarit S 70 mm is a bit exotic in this test series. It is designed for the larger sensor of the Leica S. From the Medium format test But I was very excited about the combination of the S and the 70. And so I couldn't resist and mounted an S 70 with an adapter on my Leica SL2. And I wasn't disappointed. In my opinion, this lens has an unobtrusive sharpness, not as “loud” as the SL 75 (more on that later), but still more accentuated than the Noctilux from the M series. And now comes exactly what's so fascinating: every photographer will develop his or her own style. Personal preferences and the subjects will influence the choice of lens. However, under certain circumstances you cannot cover everything with one lens and so you “treat” yourself to two lenses of the same focal length in order to achieve, for example, a slightly softer and a slightly harder rendering style. Or you can use a manually focusable, high-opening lens plus an autofocus lens with a less wide opening. And and and... The Summarit S is the ideal portrait lens for my type of photography. Small side note: On the Leica S3 the lens performs a little better and surfaces are displayed in an even more nuanced way.
The image I chose for the Leica Summarit S comes from the series I created with Eva. She spontaneously started ruffling her hair and all the ruffling made her laugh so hard. And I was able to capture exactly that moment. She has since posted the picture on Instagram and Facebook and wrote to me that she had never received so many positive reactions to a photo of her. I take that as a compliment ;-).
Edited image
Leica Summarit-S 1:2.5 / 70 ASPH / 1/100 sec, f 8.0, 200 ISO, flash
03 // Sigma 70mm f2.8 DG Macro
The Sigma lens is the cheapest in the test. So it's not surprising that the manufacturing quality is not on the same level as the other lenses. I bought it some time ago because the macro range of the L system is still a bit dormant. And I have to say: Despite the low price, the Sigma delivers very good quality and I can recommend it to anyone who needs a macro lens in the L system. The brightness of 2.8 is the lowest in the test environment, but the Sigma makes up for it all with its low focusing distance. A lens that delivers honest results at a very reasonable purchase price.
The image I chose as the edited photo for the Sigma lens is a still life from Iris' studio.
Edited image
Sigma 70mm F2.8 DC Macro, 1/80 sec, f 4.0, 200 ISO, daylight
04 // Leica Noctilux-M 1:1.25 75mm Asph
The M-Noctilux is in some respects beyond all normal limits: Thanks to its maximum aperture of 1.25 (the fastest 75 in the world) it offers the possibility of achieving the smallest possible focus ranges. Despite this performance, it is incredibly compact. You realize that there is a lot packed into the small housing when you pick up the lens: it weighs over a kilogram. Even with the aperture fully open, the Noctilux delivers enormous sharpness performance, which subjectively increases somewhat as you stop down. It has an unobtrusive sharpness that can be increased in post-production if necessary. The edited image I chose was a photo of Sam's Dodge at the airport runway. Thanks to the fully open fascia, the classic car stands out wonderfully from its surroundings. I selectively increased the sharpness a little in the area of the car. Under no circumstances should you shoot over the entire image, otherwise you will destroy the bokeh of the Noctilux. The same applies to this lens: At full aperture, I had a relatively high rate of not being able to position the focus quite precisely, especially in portraits, despite focus peaking. These are often deviations in the millimeter range. For example, the tip of the model's eyelashes is sharp instead of the eye.
Edited image
Leica Noctilux M 1:1.25 / 75 ASPH, 1/1000 sec, f 1.25, 50 ISO, daylight
05 // Leica Apo-Summicron-SL 1:2/75 Asph
The Leica SL fixed focal lengths with the initial aperture 2.0 have a very special look. I own the 35 and 90 and am a big fan of these lenses. I don't know of any other lens in the 35mm format that delivers such sharpness in the focused area. It draws every little detail crisply and precisely. When blurred, it's not quite as soft as the Noctilux, for example. This is probably due to the design and of course also because the initial aperture cannot be opened beyond 2.0. Here, Leica deliberately chose not to use a larger aperture opening in favor of compactness. Because the Apo Summicron SL 75 makes such a crisp impression in the sharpness area, the gap between sharpness and blur is greater than you would expect with an aperture of 2.0. For portrait shots where you don't necessarily need to see every detail, the Apo Summicron SL may not be the right choice. But when it comes to sharpness, this lens is in its element.
I deliberately chose a motif from the shoot with Simone as the edited image. We spontaneously did a bubble gum session with her Audrey Hepburn shirt. In my opinion, the hard light from my Profoto B1 and the crystal clear sharpness of the SL 75 go well together. It is a rather “loud” lens, and that also suits the subject of the image.
Edited image
Leica Apo-Summicron-SL 1:2 / 75 ASPH / 1/250 sec, f 10, flash
The big question about resolution
I have already pointed out several times that I miss information from the manufacturer regarding the resolution of the lenses. I know from Leica that a lot of effort goes into maximizing the resolution. About six years ago, Urs Tillmanns and I knocked on the Leica headquarters in Wetzlar about this. The bottom line of our visit was - to put it from my layman's perspective: The resolution of a lens is given in pairs of lines per millimeter. Apparently this value cannot simply be converted 1:1 into megapixels, but you could certainly calculate an order of magnitude of how many megapixels a lens can resolve.
If every manufacturer were to commit to specifying the resolution in line pairs per millimeter, large price differences might be easier to understand. Because it is of course nonsense if you buy a 50 megapixel camera and the resolution of the lenses is only 30 Mpx. Or vice versa: If you take photos with a 24 megapixel camera and know that you will never need more resolution, you don't need to buy lenses that have a resolution of 50 megapixels.
Final conclusion
The lens has a significant influence on the image. Anyone who knows their lenses knows how to use them, where the weaknesses and where the strengths lie. What I know from Leica is that the company tries very hard to ensure that lenses of different focal lengths are available with the same reproduction characteristics as possible. I assume that other manufacturers also handle it this way. Once you have a series of lenses that all have a similar image effect, you can work very well with them. My “working lenses” are clearly the SL fixed focal lengths with a focus on the two fixed focal lengths of 35 and 90 mm. If your wallet allows it, you can also treat yourself to a lens with a different character and then use it consciously.
However, and on the one hand this is a downer, but on the other hand it is also comforting: Even the best lens cannot turn a mediocre picture into a great photo.
;-)
Feedback from the beginner film course
This year we held a film course for the first time. Read the reactions and see what the participants produced together. Maybe you’ll be there next year too…
In addition to the already almost legendary ones Photography courses in Rasa This year I advertised a film course for beginners for the first time. Over the course of three days, I introduced a small group of four participants to the basics of filmmaking:
Script writing and recording planning
Realize recordings
Editing and dubbing
The aim was for each person in the group to be able to plan and carry out their own film project after the course. It was clear to me that the bar was set pretty high. Thanks to the great commitment of all participants and great support from my wife Ursula, Nicola Weiss as boat captain and the Decorel team, we drew a positive conclusion after three brilliant days.
It started straight away with practical exercises (all recordings in this blog article are screenshots from film clips of the participants)
Here is the feedback from the participants:
„Peter Schäublin's beginners' film course was both very educational and exciting. As an absolute beginner, I ventured into new territory when it came to filming and was not disappointed. With three thematic days, the course was well laid out and structured. The course was well attended with four participants, and Peter - in addition to the general theory parts - had the time and opportunity to address many individual questions and problems. I received the necessary and expected know-how and tools and think I could start my own film project.
Not to be forgotten and worth mentioning is the whole “equivalent” that was organized by Peter and his wife Ursula. In addition to intensive and busy working hours, we were also able to take leisurely and enjoyable coffee and lunch breaks in between.
For me as a beginner, I see potential for optimization in either getting to know your own or rental camera better beforehand or a somewhat “gentler” introduction to the entire and complex subject of filming. Although a push into the deep end has never hurt anyone ;-)
Thank you very much for the great 3 days. They certainly won't be the last.“
The small group enabled me to address the needs of each participant individually.
„The film course was very comprehensive and I benefited optimally from the small group. I had no idea about screenwriting beforehand, and editing the film footage with Premiere Pro was also well explained to us by the course instructor.
The culinary care and hospitality were wonderful.
The practical part with the canoeist and boat trip on the Rhine were exceptional.
Thanks Peter and see you next time.“
“Lisa is paddling” was the theme of our little film project. We filmed not only on land, but also from the boat.
„It was an intensive and very educational three days! In a relatively short time, Peter Schäublin was able to give me the tools to venture into my own film projects. With his positive and enthusiastic nature, he can inspire and motivate you to dare to do things that I would hardly have thought possible in my case.
The group size was ideal with four participants plus protagonists and helpers. We also got our money's worth in terms of culinary and entertainment. I definitely recommend the course. However, I think it is important that as a participant you have mastered the basics of your camera in advance.“
Poetic shots on the water.
„It is the special atmosphere – “at home among friends” – that makes this course so incomparable. The small group allows for a lot of personal attention from the course leader and leads to intensive exchange among the group members. The care with which the course instructor approaches the topic extends seamlessly into the areas of course organization, catering and the rest. Simply great and a – above all personal – enrichment.“
A coherent short film was created from the idea and the participants' recordings:
We have not yet set a fixed date for the next film course. If you would be interested in a film course, then please send us an emailso that we will inform you as soon as the next course date is available.
Experience God through your hands
Is it possible to experience God through your hands, fingertips and eyes? The Japanese/American painter Makoto Fujimura believes so. He discovered God through artistic activities and wrote an inspiring book about it.
Is it possible to experience God through your hands, fingertips and eyes? The Japanese/American painter Makoto Fujimura believes so. He discovered God through artistic activities and wrote an inspiring book about it.
„When people become creative, something sacred happens: we invite the abundance of God's world into the reality of scarcity around us.“
In “Art + Faith", with a foreword by British theologian NT Wright, Fujimura offers a "theology of design". He didn't become a Christian until later in life, but explains that even as a child, when he painted, he felt like he was "honoring the source of beauty and poetry in this world." In creating art, he discovered the creator.
Fujimura's art is characterized by vibrant, deep colors, the abundance of gold and abstraction. It leaves room for interpretation, intuition and mysticism. He uses Japanese techniques, valuable mineral pigments and handmade paper. He mixes the pigments with a special binder and water: a slow, liturgical process. “My work has a life of its own,” he explains, “and I listen to the voice of my Creator through my creation. When people become creative, something sacred happens: we invite the abundance of God’s world into the reality of scarcity around us.”
The Bible is a book in which much is created. Fujimura believes that "in the process of creating we can come to know the depth of God's nature and grace that permeates our lives and creation." One of the insights is that God does not "fix" us. This “plumber theology,” as Fujimura calls it, is far too limited. “God not only improves, repairs, and restores: God renews and raises us from the dead, He exceeds our expectations and desires beyond what we dare to ask or imagine.”
His example of this is Kintsugi. the Japanese art of repairing broken pottery with gold connections. The Kintsugi technique doesn't just repair ceramics: it makes the object more beautiful and unique than the original. A bowl repaired by Kintsugi is no longer a commodity, but is transported into the “realm of beauty” by the Kintsugi master.
Left: kintsugi. Right: yobi tsugi. Images: ZVG
When Fujimura visited a Kintsugi master in Tokyo, he was introduced to Yobi-tsugi: a kind of Kintsugi 2.0. At Yobi-tsugi, not only are the shards put together with glue and gold, but lost or misplaced parts are repaired with new ceramic, creating a kind of collage: a completely new work of art made from old and new components. Kintsugi master Mr. Nakamura, for example, combined ceramics from two rival countries: North and South Korea, with which he created peace in miniature using Yobi-tsugi.
These shards that the Kintsugi master carefully collects to create something new are an important metaphor, explains Fujimura. “After Jesus rose from the grave with a new body, his wounds were still visible. Our own brokenness can also be visible. The broken pieces in our lives can – in the light of Christ’s visible wounds – be a necessary part of the world to come through creation. For just as the Kintsugi master carefully collects and cherishes all the broken pieces, God also collects our joy, our loss and our pain in order to ultimately create something new.”
The beauty of Fujimura's book is that it teaches us to look at God in a different way. The artist experiences God with his fingertips, his hands and his eyes. He calls Christians to be creative and to let our imagination and creativity become an essential part of our faith journey. So that “our art, what we create, will be multiplied in God’s new world.”
Left
• Makoto Fujimara's homepage
• Video in which Makoto Fujimura explains his message
Source: Makoto Fujimura, Marieta van Driel
with kind permission to publish from Joel News
750_Yangri – make a statement with us!
On the night of June 14th to 15th, a tidal wave of unprecedented proportions hit the Yangrital (Nepal). Help us so that we can rebuild the Yangri Academic Center, which is so important for the region!
On the night of June 14-15, a spring tide destroyed Himalayan Life's Aangri Academic Center (YAC). The place, which has become a symbol of hope for the entire population, was swept away by the floods within a few hours. I was there twice and saw the dedication with which the teachers at the YAC work and how much joy the children have in going to school. For me it is clear: This place of hope and new beginnings cannot be allowed to remain destroyed. Together with you, we will ensure that hope in Yangri does not die!
This picture of mine shows the Yangri Academic Center in 2019. Himalayan Life had a special report prepared to ensure whether the land is safe to build on. And despite the positive report, the tidal wave has now washed everything away.
This picture shows the situation the day after the disaster. Meanwhile, the rear of the two buildings in the red circle and the building on the right in the red circle have also been engulfed by the floods.
Let's set an example together
Every time the Liverpool FC fans celebrate their “You never walk alone” I get goosebumps. What a message from the fans to their team. And how much more do the people of Yangri need exactly this message now – you never walk alone! The earthquake in 2015 had already severely affected the valley. Many people died back then. Himalayan Life is committed to providing long-term help in this valley and breaking the cycle of poverty. For Daniel Bürgi, the founder and director of Himalyan Life, one thing is clear:
«Despite many unanswered questions, one thing is very clear: we will never give up on children in whom hope for a good and fulfilling life germinates. a life in which they can discover and develop their potential.”
Make the difference
Niri is one of around 180 children who go to school at the Yangri Academic Center. She lives in Ri Paar, around two hours' walk from Yangri. Without school, her life prospects are pretty bleak: marriage at 15, illiteracy, no other language except Sherpa, with which she can no longer communicate in the lower part of the Yangrital. School changes everything for her. For them and all the other 180 Niris - and therefore for the entire region - it is vital that the school is rebuilt.
750-Yangri
In order to rebuild the school, new land and buildings are needed, and the tools also have to be purchased. That takes time and money. Himalayan Life dreams of building a high school as part of the reconstruction. The cost framework for this entire project is approximately CHF 750,000. Although this is many times cheaper than a comparable construction project here, it is still a large sum.
But what would it be like if 750 people, families, friends or companies invested CHF 1,000 each in the future of the people in Yangri? That would be doable. and that's why I founded 750-yangri. Help us find these 750 supporters who will invest CHF 1,000 each.
We're getting started by sponsoring the first CHF 1000. Help us find the additional 749 supporters by becoming a supporter yourself and sharing this blog post wherever you can - Facebook, Linkedin, Twitter, company websites, etc. The link is www.720.ch/blog/750-yangri
And if you can't contribute CHF 1000, then any other contribution is of course also welcome:
More info
You can find out more about the Yangri Academic Center in the film I produced last year:
On the Himalayanlife homepage We constantly publish news from Yangri - just keep checking back there Subscribe to the Himalayan Life newsletter.
Test the Best – four high-end camera systems in use
Four high-end camera systems in the test - my friend Christian and I tested the medium format cameras PhaseOne IQ4, Hasselblad H6D, Leica S3 and Fujifilm GFX100 over four days - with quite surprising results.
My friend Christian Habermeier is a perfectionist in the positive sense of the word. He always strives for something new, not stubbornly, but curiously and always open to discovering new things. Last year he and his team had a highly acclaimed event Book about Adidas shoes published by Taschen-Verlag. My friendship with him is a precious jewel for me, and so it was a great privilege to travel with him and other friends for three weeks in Nepal in 2019. We always had time to talk about the different camera systems. This gave rise to the idea of comparing the high-end camera systems - not in a scientific test with charts and pixel peeping, but in practical use. Of course, the image quality also plays a big role, but handling and special features should also be taken into account in the assessment.
But we didn't know what we were getting ourselves into. We've put over 100 hours of work into this test, and the deeper we delve into it, the more complex it becomes. Because all of these high-end systems are excellent. The challenge is to still distinguish differences and include the entire workflow. In practice, there are so many intermediate steps between the moment the photo is taken and the final result - with these cameras this is usually a large, high-end print - that the data is processed, interpreted and interpolated several times. And so the real 1:1 comparison becomes very challenging. But read for yourself:
None of the manufacturers financed this test, but we were provided with free testing equipment by all brands. A big thank you to Matthias Schultis from Fuji Store Nuremberg, Marco Nietlisbach from Light + Byte/Hasselblad, Jean-Jacques Karatchian from Leica and Matthias Seidl from Phase One. Also a big thank you to our models – Michael, Sophie, Anna and Tina. All people involved were tested for Corona in advance. All images in this report are © by Christian Habermeier and Peter Schäublin. Publication on other platforms only with our consent. We used the following cameras and lenses (in alphabetical order):
Fujifilm GFX 100 (very briefly also 100S, but only a few hours), sensor size 43.8 x 32.9 mm, 100 Mpx, with
• 4.0/23 mm (we do not give the overall designation of the optics)
• 2.8/63mm
• 1.7/80mm
• 2.0/110mm
• 4.0/120mm macroHasselblad H6D, sensor size 53.4 x 40 mm, 100 Mpx, with
• 4.0/28mm
• 2.8/80mm
• 4.0/120mm macroLeica S3, sensor size 45 x 30 mm, 64 Mpx, with
• 2.5 / 35mm
• 2.5 / 70mm
• 2.0 / 100mm
• 2.5 / 120mm macroPhase One IQ4, sensor size 53.4 x 40 mm, 150 Mpx, with
• 3.5 / 35mm
• 2.8 / 80mm Mark II
• 4.0 / 120mm macro
• 2.8 / 150mm
The four high-end cameras harmoniously next to each other in Christian's studio, in order of their sales price: the PhaseOne IQ4 (case price approx. CHF 47,000, the Hasselblad H6D (approx. CHF 39,000), the Leica S3 (approx. CHF 21,000) and the Fujifilm GFX100 (approx. CHF 12,000)
Does the infamous medium format look exist, part 1?
Around 30 years ago I took photos on a shoot using a borrowed Hasselblad and my 35mm camera. When I compared the enlargements, I almost cried: the medium format images were much sharper and more nuanced. So it definitely existed back then – the medium format look. But what does it look like today? Due to the larger sensors, you work with different focal lengths in a medium format system. If you take an image with a 50 mm lens with your digital “full format” camera, you will receive the same section in medium format depending on the sensor size (there are also different sized sensors in medium format) with a 65 to 80 mm lens. If you work with the same aperture, the focus area will be smaller due to the longer focal length. And what about the image quality? We will answer this question later - even if it is not the focus of our test.
In the following, Christian and I describe the impressions we collected while working with the four camera systems. We ignore the film features because we believe that these cameras are primarily intended for photography.
Fujifilm GFX100
Generally: The GFX100 is the only mirrorless system in our test. It is also the only camera tested to have a built-in image stabilizer. These facts and the most advanced autofocus functions, including eye tracking, make the GFX100 the most universally applicable camera of the quartet. In continuous shooting mode, it shoots up to five images per second - top value in the medium format world. Like the Hasselblad H6D and the PhaseOne IQ4, the GFX100 has a built-in Sony sensor. The GFX world is the only system that does not offer central shutter lenses. This means that flash sync times are only possible up to 1/125 second, unless you are working with High Speed Synch (e.g. in conjunction with Profoto or Broncolor flashes). However, this means you lose a not insignificant part of the lightning energy. The camera can be connected to specialist format systems using an adapter.
Peter: The GFX100 offers the convenience of a full-frame KB system with the advantages of the larger sensor. The large camera body takes some getting used to, but not uncomfortable. Because only Christian with that GFX100s worked, I can't say anything about the new little sister of the GFX100. The eye tracking usually works, but not always, but especially with people in motion, the GFX100 has significantly less waste than the other systems. The system would be my first choice if I need to cover as much as possible with the medium format camera. In addition, the Fujifilm medium format system is the most attractive in terms of price.
Christian: I would like to add here that the 100s is significantly lighter and smaller compared to the 100. It is handy, but unfortunately equipped with a lower-resolution electronic viewfinder. In my opinion, the viewfinder is one of the central criteria for choosing a camera, and the deeper resolution viewfinder of the 100s can probably only be explained by the fact that Fuji wanted to achieve an absolute killer price for the camera. In my opinion, 400 or 500 euros more and a higher resolution viewfinder would have been a better decision. Autofocus and speed are unique for a medium format system, but still cannot be compared to a current “full format” system. Of course, the question always arises as to whether you need the complex autofocus machinery in medium format. The more options a camera offers, the more ballast you have to use. A simpler camera with fewer options offers more space for what's important - accurate and deliberate image composition. It is always a matter of weighing up individual needs with regard to your own way of working. What was very good for me was that you can deactivate many displays in the digital viewfinder. The many flashing fields bothered me more than helped me in my workflow. Because the GFX100 does not have a flip-up mirror, it is very quiet in use - this can be a decisive advantage in some situations.
Due to the many possibilities, the GFX100 cameras are complex and it would take more than the four days we had to program the camera optimally. From a standing start, I had a “hit rate” of around 35% for half-body portraits with the automatic eye tracking system.
First impression of the data we pulled onto the computer during the shoot: The files are clean and very sharp, which usually works well for material shots, but sometimes over-sharp for people. The colors of the RAW files tend to appear a bit exaggerated, especially with skin tones, but also with shiny metallic surfaces. It seems almost unbelievable how much underexposed images can be brightened - no other camera can do this so well. The dynamic range of the files is very good - all manufacturers talk about 15 f-stops. In our opinion, the Fujifilm files are the best in terms of dynamic range.
The whitening test
We photographed a football shoe with all camera models and brightened the file by two and five stops. The latter may be a bit impractical, because who exposes by five stops... But the brightened images show how much potential the system offers for exposure corrections. Simply click on the images for an enlarged view (generally applies).
Brightening in Lightroom: Two stops brightening is no problem at all for the Fujifilm GFX100X, and even with five stops brightening the file is still very stable. There is practically no banding visible in the black background.
In practice, you edit the images. That's why we've attached an edited picture of ourselves with each camera. These images have been edited to my (Peter's) taste in terms of brightness, contrast, color and clarity. So they are not directly comparable. It starts with a picture from the shoot with Tina and Anna.
Fujifilm GFX 100 with 1.7/80mm, 1/125 sec, f 11, 100 ISO, flash. Edited image
Hasselblad H6D
Generally: The H6D In terms of design, it is based on the analogue Hasselblads that are still present. We chose this because of the high resolution H system decided, which also offers a multishot version with 400 Mpx. Hasselblad is the only manufacturer to offer one SLR system (H) and a mirrorless system (X) to. This is also the case V system available. This means that Hasselblad has the broadest range in medium format. The sensor unit can be separated from the rest of the camera and used on a view camera. However, unlike the PhaseOne, the sensor unit does not have its own power supply, which has advantages and disadvantages.
Peter: I was traveling in Iceland with the H5D in 2014 and was sure that the successor model was also a great camera. The cube-shaped body fits very well in the hand thanks to the handle. The menu navigation at the back of the screen impressed me with its simplicity. The H6D probably only has one autofocus point, but you can save the focus point and then change the image section. The system calculates the resulting focus difference so that the point in focus always remains sharp. I really like the H6D files because, in my opinion, they appear more material than, for example, the Fuji data.
Christian: The H6D has pretty much everything you need in the studio. The operating concept is ingenious and allows you to understand the camera very quickly. The autofocus on the H6D - and on all other cameras - is slower than that of the Fujifilm GFX100/100s. However, I have the feeling that the H6D autofocus works very accurately. It is fast enough for many of my applications. I found the case a bit windy. In this regard, I would expect more considering the price tag stuck on the camera. The camera ran very stable. The H6D and the Leica S3 have never let us down. With the GFX100 and the PhaseOne we had to do a system reset two or three times. The reason for the blocking can also be due to operating errors on our part. I think it's great that there are lenses with a central shutter for the H6D. With the latest generation you can flash up to 1/2000 sec. (!) and still use the full flash power of my generators.
In terms of software, we have all cameras on the memory card and tethered shooting in CaptureOne21 worked. Because CaptureOne doesn't support Hasselbad files, we used the H6D for tethered shooting Phocus worked. Phocus is the Hasselblad counterpart to CaptureOne, is a very good solution and I quickly found my way around the software.
First impression of the data we pulled onto the computer during the shoot: Although Fujifilm builds the optics for Hasselblad and the camera also has a Sony sensor, the files seem a little softer and more “organic” to us than the data from Fuji. In general, the files have a slightly warmer tone than those from the other cameras.
The whitening test
Brightening it by two stops in Lightroom works without any problems. When brightened by five stops, you can see minimal banding in the fabric, and the file tends strongly towards red. This irritated us - and also Hasselblad. We wanted to edit all images in Lightroom for the best possible comparability. But the strong coloration at five stops of brightness prompted us to edit the image in Phocus, Hasselblad's image editing software:
The result is astonishing. The first thing you notice is that the brightening log rhythms apparently work completely differently than in Lightroom. Then the image still tends to have a slightly reddish tone, but not nearly as much as in Lightroom. So it plays a big role which software you use to import and edit the images. The fact that Hasselblad offers its own software for this can definitely be an advantage: the parameters can be adjusted exactly to the Hasselblad RAW files. Interesting detail on the side: In Phocus the data can only be brightened by two stops. You probably think at Hasselblad that no really good photographer misses the exposure by more than two stops ;-). I then brightened the file a little using the highlights and shadows controls to get at least about four stops of brightness.
You will read later in the report that we encountered a similar phenomenon with the PhaseOne files.
Hasselblad H6D with 2.8/80 mm, 1/125 sec, f 11, 200 ISO, flash. Edited image
Leica S3
Generally: At 64 Mpx, this system is the one with the lowest resolution. The S3 is a classic SLR camera in terms of construction. Despite the larger sensor, it is not much larger than comparable professional models in the full-format DSLR segment. The S3 is the only one that doesn't have a Sony sensor built in. This sensor is also not a so-called backlit sensor. The camera can be connected to specialist format systems using an adapter.
Peter: As you would expect from Leica, the S3 is excellently crafted. In terms of housing ergonomics, it is the camera that - of all the cameras I know - fits best in my hand. The optical viewfinder is 1A. In general, the S3 is the most comfortable of all cameras for me to work with. The big drawback, however, is that in normal mode it only has a single autofocus point when viewed through the viewfinder. For me, this significantly limits the possible uses and contradicts the philosophy of this camera, which is otherwise designed for fast, 35mm-like work. At least you can move the focus point at the back of the screen when the mirror is folded up. In contrast to the touchscreen on the 100GFX, you have to do this with the joystick, which slows you down. I noticed that the S3's data has more information in the midtones than the files from the other cameras. This makes the S3's image data unique for me. This is a big advantage, especially when editing portraits. When I don't need the speed of a GFX100, the S3 is my first choice for a variety of reasons.
Christian: I haven't worked with a Leica for a long time and had major prejudices against the S3. These quickly disappeared when I picked up the camera: never in my photography life have I held such an ergonomically good camera with such a great optical viewfinder. Yes - the camera offers less technologically in other areas, at least like the GFX cameras, but as already mentioned the question always arises: How much electronics do I need for my photography? However, I agree with Peter: a few more autofocus points would be great. It doesn't have to be 464, but around 20 would be helpful. The connection of the S3 to CaptureOne is very successful. The special tether cable with protection is great. With three frames per second, the Leica is in the middle of the field in terms of speed. Here too I have to say that this speed is sufficient for what I photograph in medium format. The images look exceptionally good on the computer screen – very clear, very modulated. In terms of corrections, the data is not quite as good-natured as the Fuji files, but more good-natured than the H6D and PhaseOne data. With the original lenses, the S3 delivers images that appear a bit more organic and harmonious than those of the other systems, the skin tones are wonderful, and the files can be modulated considerably. I then mounted my older Hasselblad lenses on the S3 using an adapter. This went smoothly and, interestingly, the character of the images became more harsh, which can be an advantage for stills. This has led to the question of whether the lenses have the biggest impact on the look of the images - much more than the sensor and camera brand. In my opinion this is a significant part, but I think the coordination of all components is very important and is best achieved on the S3. For me it is a big plus that the Leica lenses are also available with a central shutter. This makes them even more expensive, but it's great for use in the studio and flashing outdoors. Switching from AF to MF is also very convincing with the Leica lenses: If you want to focus manually, you simply turn the focus ring. The system then realizes that you are working manually and deactivates the autofocus. As soon as you let go of the ring and press the shutter button again, you are back in AF mode. There are four large programmable buttons on the back that are not labeled, which I think makes sense - so you can assign each button the function you want. I would also like to have a dial for quickly changing programs. This works via the rear dial. But the one second it takes to get into the menu is almost too long for me, but it may be something I get used to and I don't have to take my eyes off the camera. The diopter correction is also exceptionally well designed and of high quality.
First impression of the data we pulled onto the computer during the shoot: After the GFX100, the S3 delivers the cleanest files. They appear very nuanced and material.
The whitening test
Two f-stops of brightening are no problem for the Leica; five f-stops are still possible, but with slight streaking and a minimal tendency to red.
Leica S3 with 2.0/100 mm, 1/45 sec, f 4.0, 200 ISO, daylight. Edited image
Phase One IQ4
The Phase One IQ4 With 150 Mpx, it is the queen of medium format cameras (apart from the multi-shot variants). It also offers some sophisticated functions such as vibration measurement: If this is activated, the camera only triggers when the body no longer vibrates. That makes perfect sense, because even the smallest vibrations have an influence on the image in such high resolutions. Another special feature is the internal processing of focus stacking files. The sensor unit is removable and has its own power supply. This means it can be easily used with almost all view cameras. PhaseOne has with the XT system also a type of mirrorless system.
Peter: In my opinion, the IQ4 definitely belongs on the tripod. It is heavy and this makes the whole workflow the slowest. But that can also be an advantage. If resolution were my primary criteria and money was no object, I would look very closely at the PhaseOne system. The camera is very complex to use - in my opinion you have to work with it regularly so that you don't get lost in the navigation. The special functions already show that the camera is intended more for static photography. With the separate power supply for the back, it is also very interesting if you also want to use the back on view cameras.
Christian: I have been taking photos with various PhaseOne cameras since 2001. One of the big advantages was the connection to the CaptureOne software. But for some time now this has no longer been a unique selling point. Meanwhile, Fuji, Sony and now Leica are just as well implemented. The IQ4 with its 150 megapixels is a resolution miracle and has the highest resolution sensor of all the cameras tested. The workflow is slower than with the other models, and the shutter speed of one image per second limits the possibilities. For certain genres, such as fashion photography, this is tight. But for stills, car photography, landscapes, etc. it is great. Their software is definitely the most sophisticated for studio tasks. The adaptation of third-party lenses is also possible, as is the case with Hasselblad, Fuji and Leica. However, the electronics got stuck a few times when attaching older lenses. The files are very good up to 400 ISO, but the shadows cannot be brightened as much as the data from the other cameras. There are also lenses with central shutters for the IQ4, with which you can flash up to 1/1500 sec. The autofocus is rather sluggish and limited to one point. As with the H6D, the system calculates the focus correction if the image section is changed by panning the camera after the focus has been fixed. Here too, switching from AF to MF is ingeniously solved: you simply move the focus ring on the lens to a different position to switch. This is lightning fast.
First impression of the data we pulled onto the computer during the shoot: Zooming into the IQ4 files is an experience. 150 Mpx is its own shoe number. With large prints over 100 x 150 cm, this increased resolution becomes visible in the details.
The whitening test
Brightening the IQ4 by two stops is no problem either. At five apertures, the cloth in the background is still very beautiful and without banding, but a strange "rainbow effect" appears in the edges. But where does this rainbow effect come from? Is it possible that this effect doesn't come from the sensor but from Lightroom? Based on our experience with the Hasselblad files, we dragged the file into CaptureOne and brightened it by four stops (five stops is not possible). As with the H6D, the result is astonishing:
We have a completely different effect than in Lightroom. As with Phocus, the brightening algorithm apparently works completely differently in CaptureOne than in Lightroom. So it really depends on which RAW converter you use to open and edit the images. It would be another test in itself to open the images from different manufacturers in different RAW converters, edit them and compare the results.
Christian: «It can also work the other way around: We wanted to edit images of materials that we had created with a PhaseOne Back in Capture One. The result was terrible moirée effects and the associated graying of the colors (see picture on the right). In desperation, we opened the same raw data using the Photoshop RAW converter. There was no moiré and the images were perfectly editable. If you buy a new camera system, I recommend first opening some RAW files with different converters (Lightroom, Capture, Phocus, ON1, etc.), making some corrections - even and especially extreme adjustments - and comparing the results. Based on the results, you can then choose the RAW converter that delivers the best results. And if you're waiting to edit it, it might be worth editing a single file or a series of images in another program to see whether you can get closer to your desired result."
PhaseOne IQ4, 4/120 mm, 1/160 sec, f 4.0, 400 ISO, daylight. Edited image
Image noise in the higher ISO range
Up to 800 ISO, all cameras perform very well when it comes to image noise. But what about 1600 ISO? We want to know, but now it gets tricky: We took one image from a series of shots with Sophie that was photographed at 1600 ISO. People recordings are difficult to compare, but we deliberately wanted to include such recordings, knowing that they are less comparable than test charts. This is about image noise and not facial expression. But how do you compare four recordings that were made with different resolutions? Our friend Urs says you have to compare all data 1:1 in their original resolution. We are of the opinion that the lower resolution files should be extrapolated to the level of the PhaseOne recording, because the resolution advantage is one of the main arguments for the PhaseOne. So we did both: First, we opened all four recordings unedited, not interpolated, and used an excerpt from each. This is tableau 1. Then for a second tableau we extrapolated the images from the Fuji, Hasselblad and Leica to the 150 Mpx of the PhaseOne and then used a section from each. This is Tableau 2. A 150 Mpx file corresponds to a print of 90 x 120 cm at 300 dpi.
The Fuji shot is slightly darker, but we didn't brighten it because that would have increased the noise.
Table 1
All images unedited, in original resolution
Table 2
Fuji, Hasselblad and Leica interpolated to the size of PhaseOne:
Even after interpolation, the Leica file is the one with the lowest noise. This is surprising, because this file had to be extrapolated the most (we extrapolated using Photoshop). This shows us that the interpolation capabilities of the software are amazingly good with a very good source file and that the argument for a higher resolution sensor is not insignificant, but loses weight. Smaller files have the advantage that they take up less space on the computer and can be processed more quickly. We printed excerpts from these four files to assess the effect in the print:
Reproduction of skin tones
Christian: When shooting in RAW, the different cameras sometimes show considerable color differences in the same lighting situation and the same white balance setting. The representation of colors is particularly interesting in the area of skin reproduction.
Color perception is a subjective question of perception. What is too bright for one person is just fine for another, and what is perfect for one person is too pale for another. It also plays a role whether we compare the skin tones of the cameras at lower or higher ISO numbers. At 100 ISO the cross-comparison is different than at 1600, for example. After four days of testing, we would speak of clear tendencies of the camera models. In order to check our feelings, we showed the different files on the monitor to various people. Here is the result (all statements refer to unprocessed RAW files):
What was striking was the very strong coloring of the Fuji files. The skin tones appeared to be more reddish, and harsher color transitions were also visible in the skin compared to the other cameras.
The Leica S3 was convincing in terms of skin reproduction up to 800 ISO, the skin tones appear very modulated on bare skin, but not overly colored and very neutral, very close to the original, both in daylight, "poor" LED light, and studio flash. That changes at 1600 and 3200 ISO. At these higher sensitivities the files appear somewhat colorless, and underexposure results in increased image noise when the shadows are brightened The GFX100 was very convincing in these high ISO ranges, but the files are a bit too colorful even in the higher sensitivities.
We liked the PhaseOne files second best to the Leica files. Here, too, there are slight weaknesses from 1600 ISO onwards.
The skin tones look very pleasant on the Hasselblad H6D, which, according to Hasselblad, is the result of the slightly warmer orientation of the data. When the files are brightened, this red drift becomes negatively noticeable and must be corrected accordingly.
In general, the files stand out from 35mm files, especially in the area of skin reproduction. When making large prints for exhibitions, medium format data has a clear advantage in terms of editing options.
Photos of people are very difficult to compare. The top row was created with flash light, the bottom row with diffuse daylight.
The resolution test
Now things get really big, because probably the most important thing about a high-end camera system is the image quality for larger-scale prints. That's why we devote a large part of our test to this aspect. Again: The range of sensor resolution ranges from 64 Mpx (Leica S3) to 150 Mpx (PhaseOne IQ4). We asked ourselves how much you would see this difference in practice if you massively increase the size.
To do this, we extrapolated each file from three series of images so that it corresponds to a print of 300 x 200 cm at 300 dpi. This results in an insane resolution of around 900 Mpx. The PhaseOne file had to be interpolated almost exactly to 600%, the Leica S3 file to 1480%. We extracted a section of 3000 x 2000 px from each of the images that were extrapolated in this way.
We have prepared three series of images in this way - the “adidas still life”, the “watch still life” and a solitary football shoe:
The differences in the pictures are minimal. The biggest difference came from small focus differences of one, maybe two millimeters. To illustrate this, we show extreme excerpts from the clock still life here. We took these pictures with a 120 mm focal length, f 16, 100 ISO, 1/125 sec, flash. You'll have to scroll back and forth a bit, but that's unavoidable. You can find out why this is the case in the comment after the pictures.
Fujifilm GFX100
Hasselblad H6D
Leica S3
Phase One IQ4
With these motifs we always focused on the center of the dial. This is where the PhaseOne IQ4 scores. The extreme section shows that the 150 megapixels result in an increase in sharpness. But at such extreme magnifications, the focus area is minimal even at aperture 16. This means: If, despite working very carefully, we have misfocused by one or two millimeters, the image will appear blurry in comparison. That's what happened to us with the Leica image: the hands don't look completely sharp, but the numbers on the watch ring look a little sharper. A minimal focusing difference is far more noticeable than the difference between 64 and 150 megapixels. The Hasselblad image appears more contrasting than the other images. However, we do not attribute this to the lens, the sensor or the calculation of the data, but rather to a small difference in the angle of the camera to the object, which has changed slightly due to the height of the camera. You can also see that the shooting angles are slightly different from the reflection of the flash light in the watch glass (by the way, Christian deliberately did not remove the dust so that the impression of sharpness can also be assessed based on the dust grains).
There is practically no difference in the effect on the print. The PhaseOne image is a touch sharper, but even at an output size of 300 x 200 cm at 300 dpi, it's all a lot tighter and closer together than we expected.
Does the infamous medium format look exist, part 2?
It is beyond the scope of this review to compare the best full-frame systems with these medium-format cameras. Nevertheless, we also photographed the subjects here and there with our KB cameras. Below you can see an excerpt from the clock image, photographed with the Canon EOS 5DSR (50 Mpx) at 100 ISO (like all the other shots) with the Canon EF100mm 2.8L Macro (an excellent lens), also scaled up to 300 x 200 cm 300dpi. If you compare the images from a medium format system on the computer with the images from a very good 35mm system, the differences on the screen are initially minimal. Only when you zoom in on the data do you see differences. In the excerpt shown here you can see that the data is no longer quite as concrete and that the surfaces appear more restless. This is also noticeable in print.
When editing the images for brightness, contrast, clarity, etc., in my experience, medium format files are more forgiving than 35mm files, meaning they have a greater scope for correction.
So today we would say that the medium format look exists, but the difference in quality is no longer as big as it was in the analogue era. In general, the larger the output format, the more noticeable the difference between 35mm and medium format.
Canon EOS 5DS R. Due to the smaller sensor and the resulting shorter focal length (100 instead of 120 mm), the field of focus is larger with the 3D image.
We admit it: we printed pretty excessively because we really wanted to know. At the back you can see the excerpts from the clock image. Logically, the prints can no longer be assessed via the screen; you have to see them 1:1 in real life.
Conclusion
We deliberately didn't want to carry out a laboratory test, but rather a four-day practical test. But such a practical test is very challenging, because the factors “human” and “chance” are much more important in such a practice-oriented test than in a laboratory test.
We shot all the still lifes and some of the people shots using a tripod. Due to the different heights of the bodies and sometimes different focal lengths (we didn't have an 80 mm for the Leica), the cameras had to be repositioned slightly. This meant that the light reflected differently, which in our opinion made a bigger difference in the effect of the images than the different sensor resolutions. These systems are not worlds apart, but rather nuances.
All four camera systems deliver excellent image results. The Hasselblad files are generally a little redder than the other three systems. But that's not a "killer criterion" because if necessary, counteracting this slight red overhang in Phocus, Lightroom or Photoshop is no problem at all.
The Fujifilm system has a unique selling point compared to the other systems because it is the only mirrorless system in the test. At the same time, it is also the only system for which lenses with a central shutter are not available. In practice, this means that with flash sync times shorter than 1/125 sec. you have to work with high speed sync systems and therefore lose a lot of flash power. It should be noted again that the Hasselblad X system is also mirrorless and, unlike the GFX, lenses with a central shutter are available for it.
There are sometimes big differences in the handling of the camera systems. If money is no object, you can choose the system that suits you best in terms of operation. In our opinion, the factor “How much does a camera inspire me when I work with it” is a very important one, and with these close test results this aspect becomes more important. The answer to the question of which camera suits you best will be different for each person.
If you don't upscale the images or don't upscale them massively, the difference in resolution between the different systems is almost unnoticeable.
If you prepare the data for very large prints (by this we mean prints that are larger than 100 x 150 cm), the images from the Phase One IQ4 appear a bit more detailed. The three pursuers are practically level. As mentioned, a minimal focus difference has a much greater impact on the impression of sharpness than the different resolution.
An image can appear more or less material. Here the Leica seems to have the edge: We showed the series of football shoe pictures to ten people (some with and some without a photography background) and asked them which picture spontaneously struck them as the most beautiful. Six chose the Leica S3 image. This test would also have to be carried out with different motifs and on a broader basis in order for it to be truly meaningful. But one thing is clear: resolution isn't everything, and - it should be mentioned again: the differences are very small in the top segment.
All of this leads us to one of the most important questions: How do the images look when printed? We printed around 50 meters of paper for this. We met to discuss the prints. Urs Tillmanns from fotointern.ch also took a look and took photos of us analyzing:
Christian and I analyzing the prints. Photo: Urs Tillmanns
It is impossible to show the effect of the prints on the screen. Even after analyzing all the printouts, our conclusion is the same: there are differences, but they are smaller than expected.
Large prints of data from these four systems are in a class of their own and, in our opinion, visibly better than prints from our very good full-format systems.
In our opinion, the decision criteria for choosing the right medium format system are as follows:
The first criterion is the purchase price. Depending on your financial possibilities, this limits the choice.
If you need a function for your type of photography that only one of the systems offers, this point will determine the choice.
Otherwise, in our opinion, what matters is how much a camera inspires you. They are all tools, but they are different. If you want to get started with a medium format system, you would do well to test the cameras you are considering beforehand.
At the end of the day, all the technology is just there to capture and reproduce the light. Photography is painting with light. The camera – the brush – is not insignificant. But what is much more important is the master who wields the brush.
A little look behind the scenes
My wife Ursula and Christian's assistant Angelika captured a few impressions over the four days - but in contrast to the test cameras with low-profile equipment ;-). If you're interested, you can take a look behind the scenes.