G
Guest
I have a 500cm since 1976, I love it... Is there some digital back that works with it?
thanks and excuse.
Tito Chescotta
thanks and excuse.
Tito Chescotta
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G
Guest
Hi Tito
Check this web page out, it's not the only one however I've used this system and its Fantastic.
http://www.phaseone.com/en/PRODUCTS/Singleshot/H10Hasselblad.htm
Barry.
Check this web page out, it's not the only one however I've used this system and its Fantastic.
http://www.phaseone.com/en/PRODUCTS/Singleshot/H10Hasselblad.htm
Barry.
G
Guest
>[Dear Friend Barry:
It's a nice stuff, but there is a problem... The sensor size is 24x36mm so... my beautifull wide angle lens 40mm f/4 T* will be a normal lens... I will have not a wide angle lens never more... Really I need less definition and a greater sensor size... and cheap ;-) Un fuerte abrazo, Buen Amigo.
Tito Chescotta
Tito Chescotta
>]
It's a nice stuff, but there is a problem... The sensor size is 24x36mm so... my beautifull wide angle lens 40mm f/4 T* will be a normal lens... I will have not a wide angle lens never more... Really I need less definition and a greater sensor size... and cheap ;-) Un fuerte abrazo, Buen Amigo.
Tito Chescotta
Tito Chescotta
>]
janikphoto
Member
I second that one. I would like to find a full frame digi back so you can take advantage of the wide angle lenses and the square format...
wbulte
Active Member
Assuming more or less affordable MF full-frame back could be built I am still wondering if the wide angle lenses originally designed for film use would work OK on a digiback. I specifically mean the need/desire to have the light rays enter the digisensor at a 90 degr angle. Given that I like my wide angles lenses better than all the other lenses I own that would be of prime importance for me. Comments?
janikphoto
Member
I too want a full-frame digi back. There are several digtal backs available, but I have not found one that is full-frame... Someone PLEASE make one!!!
jotloob
Well-Known Member
> Hi I dont think there will be a manufaturer who will create a full frame sensor (6x6 or even 4,5x6) in the near future and if so , who will be willing to pay for that big sensor ?????? It shurely will be extremely expensive and if it is really needed (techincal) is an other good question. regards jürgen
> Hi I dont think there will be a manufaturer who will create a full frame sensor (6x6 or even 4,5x6) in the near future and if so , who will be willing to pay for that big sensor ?????? It shurely will be extremely expensive and if it is really needed (techincal) is an other good question.<
First of all, today's 22MP sensors are 49mm x 38mm, which is pretty close to 645 (54 x 41). Dalsa has announced it will make a 30MP sensor, which if it reaches 49 x 49, comes pretty close to 6x6. As far as costs are concerned, it may take 5 years for an affordable 6x6 solution. In the meantime, digital users can get a 16MP back for under $10,000, with some available on EBay for $5000-6000. All I can say now is that I don't shoot much film anymore.
Larry
First of all, today's 22MP sensors are 49mm x 38mm, which is pretty close to 645 (54 x 41). Dalsa has announced it will make a 30MP sensor, which if it reaches 49 x 49, comes pretty close to 6x6. As far as costs are concerned, it may take 5 years for an affordable 6x6 solution. In the meantime, digital users can get a 16MP back for under $10,000, with some available on EBay for $5000-6000. All I can say now is that I don't shoot much film anymore.
Larry
I sourced an as new Kodak Pro Back on eBay - less than 40 acctuations and flawless. I was hoping to use it with my truck-sized Mamiya, but found that the required adaptor would cost as much as a new Hassy 555. Figuring that the Hassy would always be more desirable than a flat piece of metal with a hole in it, I sold the Mamiya and a slew of RB lenses and bought the 555. Still feels strange owning and using one - like being handed a piano when you're used to working with a cement-mixer.
Anyway, I have always enjoyed composing in a square, so I'm cosying-up to it. The 16mp back is producing superb output - noisier than I'd like it to be in the blue channel, but that's easily addressed in post-production. I bought a huge 40mm to be able to do wider shots, but it's the older version that performs well at infinity, and not so well closer-in. I have replaced it with a new 60mm, and that has pretty much become my do-all lens, along with the 80.
The lovely thing about the Hassy is that the option to do true wide-angle is there - just slap on an A12 magazine and the appropriate lens. Of course, the A12s also offer a cost-effective failsafe for the digital back (does anyone really own 2 digital backs of the same model, with one as a backup?) Presently, if I need to go wide, and maintain a digital workflow, I use the Pro Back with a Horseman Digiflex and some Nikon glass - kludgy, but it works.
I hadn't ever intended to own a Hasselblad - they've always seemed too-pretty and precise, to me. Yet the combination of a Pro Back and the 555 has proved to be a good route into medium format digital. Sure, Jo Schmo will be on my heels as the prices fall further on eBay - and the big league have been wielding their H1s and P25s for almost two-years. Yet, thanks be, our ideas keep us in the race, not merely printed-circuitry...
Anyway, I have always enjoyed composing in a square, so I'm cosying-up to it. The 16mp back is producing superb output - noisier than I'd like it to be in the blue channel, but that's easily addressed in post-production. I bought a huge 40mm to be able to do wider shots, but it's the older version that performs well at infinity, and not so well closer-in. I have replaced it with a new 60mm, and that has pretty much become my do-all lens, along with the 80.
The lovely thing about the Hassy is that the option to do true wide-angle is there - just slap on an A12 magazine and the appropriate lens. Of course, the A12s also offer a cost-effective failsafe for the digital back (does anyone really own 2 digital backs of the same model, with one as a backup?) Presently, if I need to go wide, and maintain a digital workflow, I use the Pro Back with a Horseman Digiflex and some Nikon glass - kludgy, but it works.
I hadn't ever intended to own a Hasselblad - they've always seemed too-pretty and precise, to me. Yet the combination of a Pro Back and the 555 has proved to be a good route into medium format digital. Sure, Jo Schmo will be on my heels as the prices fall further on eBay - and the big league have been wielding their H1s and P25s for almost two-years. Yet, thanks be, our ideas keep us in the race, not merely printed-circuitry...