Should You Shoot Medium Format For Weddings?

Wedding photographers older than 45 will remember that as recently as the early 1980s, a medium-format camera was the instrument of choice. Why? Because it produced much better images and helped differentiate a pro photographer from an amateur. As film emulsions got better, it became more acceptable to use a 35mm camera system. But even then, many—if not a majority of—pro wedding and portrait photographers would prefer to use a medium-format camera if the pay rate justified the extra cost.

Fast forward to today and the difference in image quality between a smartphone and a DSLR is not as pronounced as it once was, at least when lighting conditions are ideal and a fixed wide-angle lens will suffice. Plus, the cost of “film and processing” is no longer an issue, which further exasperates the difference, at least for an uninformed customer, between a good amateur and a hired professional.

But the appeal of a medium-format camera cannot be denied—bigger images with more details could very likely up your photography ante into a higher-quality stratosphere. 

Perhaps the answer is to go back to the old days and get (or rent) a medium-format camera to “promote” yourself as someone with better equipment. Yes, it does sound elitist, but sometimes it’s what’s needed, just as a smart-looking studio, 
office or even the type of car you drive indicates you are a successful professional.

BACK TO THE FUTURE

Although medium-format digital cameras have been around for a number of years, their usage has been fairly limited, partly because of cost but also because of slowness in operation. While they are ideal for studio work, especially for stills of images—such as food, cars and even professional fashion models—they have not been very practical for more dynamic photography. That is beginning to change as their functionality improves.

I last reviewed a digital medium-format camera back in November 2010 after spending a couple of days using a 40-megapixel Hasselblad H4D-40. At the time, I concluded it was more practical than I expected it to be, and the image quality was excellent—though it was still a heavy camera and the battery didn’t last long. However, my biggest complaint was that the CCD sensor seemed to attract dust, which is something CMOS sensors are generally less likely to do. Three new medium-format camera systems introduced this year happen to solve that problem, and it’s worth taking a look at each to see if their cost can be justified.

THE NEWBIES

The Pentax 645Z, Hasselblad H5D-50c and Phase One IQ250 all have one thing in common: they use a CMOS sensor rather than a traditional CCD sensor. Remember, DSLRs also used CCD sensors until a few years ago, but nowadays all mainstream DSLRs use CMOS sensors. These chips have proven to be less costly while providing improved speed of operation and better quality, at least in most everyday situations. True, it’s fair to say that CCD sensors are still superior for extremely detailed still-life images for which you can use long exposures because nothing moves. But that doesn’t really apply much to wedding or portrait photography.

What’s more, these three cameras all use the same Sony-manufactured 51-megapixel CMOS sensor. These similarities aside, the three differ quite dramatically.


PENTAX 645Z

Of the three, the Pentax 645Z is undoubtedly the most enticing for wedding and portrait photographers, mainly because it costs a (relatively) inexpensive $8,500 for the body. That’s not too much of a leap in cost from a high-end 35mm full-size DSLR.

Of course, that price jumps when you start adding lenses, as the current lenses range in price from $839 for the base SMC-FA 645 75mm lens to anywhere from $1,200 to $5,000 for the other half a dozen current lenses. However, it’s worth noting that if you’re willing to use 645 lenses from older film cameras, they can be found for substantially less on the second-hand market. In many cases, you can pick up an older 75mm lens for around $300, and just in case you want to (re)try your hand at shooting with film, you might coincidentally get the original 645 film body as well.

Ricoh Imaging, now the parent company of Pentax, gives the 645Z a top ISO capability of 204,800, which is pretty amazing. It can shoot up to 10 RAW images (8256 x 6192) at three frames per second. Also, thanks to the CMOS sensor, the 645Z offers live view and can shoot HD video, which is a first for a medium-format camera. Although the body is similar to the preceding 645D, there are numerous internal and external changes, including a tiltable LCD monitor. As before, the body is weather- and dust-resistant. 

I briefly held the camera when it was shown under glass at WPPI. It felt comfortable and is not much heavier than a Nikon D4S or Canon EOS-1D X, at least with a small lens on it. I was unable to take photos with the pre-production body, however, I am currently testing a Pentax K3 camera and I’m impressed with its capabilities. Because the 645Z uses the same focusing system and image-processor as the K3, I expect its operation to be very similar. I’m looking forward to trying the 645Z when it becomes available this summer (look for a full review in a future issue of Rangefinder). 

HASSELBLAD H5D-50c

It’s probably fair to say a Hasselblad was the ultimate medium-format camera for most professionals a few decades ago. It enjoyed an aura that made any photographer shooting with one in the Swinging Sixties a “true” professional. Like so many iconic brands, Hasselblad has suffered as photographers switched to 35mm cameras and then to digital. 

Despite this photographic evolution, Hasselblad has survived, and its latest camera body, the H5D-50c, uses the same sensor as the Pentax 645Z. However, Hasselblad uses its own image processor and gives it a high ISO rating of 6400. Because the sensor is a rectangular shape, you will not get a square image, which is what one gets from a Hasselblad using film. 

The H5D-50c is quite a different animal from the 645Z, as it uses lenses with a leaf shutter in the lens. Veteran photographers will know that means you get a nicer bokeh look and can use flash at far higher shutter speeds than cameras that use focal plane shutters, such as the 645Z and all DSLRs.

Because the H5D-50c body retails for $27,500 and is much heavier than the 645Z, it is, in all honesty, less appealing to a wedding photographer. Unless, that is, you already own a Hasselblad system with lenses.


PHASE ONE IQ250

Most digital medium-format cameras use interchangeable backs, just as they did in film days. Phase One has been a leader in digital camera backs and collaborated with Sony in developing the new CMOS sensor. It was also the first to get it into production early this year, and our senior tech editor, Dan Havlik, was one of the first to review the Phase One IQ250 camera back this past January for our sister publication, PDN. 

The Phase One IQ250 is definitely aimed at high-end photographers, as it costs a whopping $35,000. On top of that, you have to supply the actual camera body. Phase One does offer a package that includes the Phase One/Mamiya 645DF+ body for an additional $6,000. Although these cameras may be out of your current budget, it’s worth getting your hands on a rental, if only to familiarize yourself with the feel—and quality—of medium format in your hands.