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A size comparison of medium-format film (left) and regular 35-mm film. Medium-format film lacks the sprocket holes of 35-mm film.
Medium format has traditionally referred to a film format in still photography. Generally, the term applies to any film size greater than 35 mm, but less than large format (4"×5" or more) sheet film and to the cameras and equipment that use these film sizes. The larger film sizes produce images with finer detail than smaller sizes, and as such are in particular demand among professional photographers. There is, however, a degree of enthusiasm for medium format among amateurs as well.
In digital photography, medium format refers to the use of cameras modified or adapted from medium format photography on film. Often, medium format film cameras can be fitted with digital backs, incorporating sensors larger than 24 by 36mm (the typical frame size used on 35mm film). As of 2006, medium format digital photography sensors were available in sizes of 36 by 48 mm, with 39 million pixels. These high resolution sensors bring the immediate feedback and easier workflow of digital photography into the medium format world.
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Mamiya 645 Super and its possibilities
1– Camera body ; 2– Lenses ; 3– Focusing screens ; 4– Power drive ; 5– Wind-up crank ; 6– Metered prism finder ; 7– Prism finder ; 8– Waist level finder ; 9– 120 roll film holder loaded with a film X ; 10– 120 roll film holder loaded with a film Y ; 11– 220 roll film holder, 35mm roll film holder, Polaroid land pack film holder, digital back (only for more recent models), etc. ; 12– Cable release adapter
The main benefit of medium format photography is that, because of the larger size of the film (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. While the large-format film used in view cameras offers even greater film size and higher resolution, view cameras generally lack the versatility and convenience of medium-format cameras, due to their bulky size and relatively awkward processes.
Medium-format film can also be shot in a variety of aspect ratios, which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square) and 6×4.5 cm (rectangular). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic. The 6×4.5 cm format is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium format models is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure. Another pro is that, like large-format cameras, many medium-format cameras have various interchangeable parts. Like most 35-mm SLRs, medium-format cameras usually support different lenses as well, but in addition it is also standard for medium-format cameras to support different winding mechanisms, viewfinders, and camera backs.
Compared to 35 mm, the main drawbacks are accessibility and price. While 35-mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive for some. Medium-format film also supports fewer exposures per roll, usually around 12 to 16, and are generally more difficult to load and handle than their 35-mm counterparts.
All medium-format cameras manufactured today use the 120 film format. Many also can use the 220 film format, which is twice as long and hence allows twice the number of exposures. 120 and 220 film is still almost as available as 35mm from specialist shops.
Digital photography has come to the medium format world with the development of digital camera backs, which can be fitted to many medium-format cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting a camera into a digital camera. These backs are usually very expensive and are used predominantly by professional photographers. Like with film, due to its increased size they deliver more pixels and have lower noise. Features like fan cooling also improve the image quality of studio models. In 1984, Leaf Systems Inc. spearheaded the birth of the professional digital photography market. The Leaf Aptus 75S [1] digital back offers 33MP resolution, with shooting speed of 50 frames a minute. In early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released a 39 megapixel back, the highest resolution single-shot digital backs to date.
While most professional medium format cameras are very expensive, some inexpensive plastic imports, such as the Chinese Diana and Holga, are gaining in popularity, particularly with toy camera enthusiasts. Many of these cameras are sold though the Austrian Lomographische AG. Due to the poor quality of the cameras, the exact image captured on the negative is somewhat random in nature. These cameras often have plastic lenses that offer poor or uneven focus, light leaks that oddly colorize an image, extreme vignetting, and a multitude of other "flaws" that are generally undesirable to photographers. While these elements certainly are "flaws" in camera design, they can produce interesting, artistic, or enjoyable results. Because of the popularity of lomography and toy camera culture, medium-format photography has seen a resurgence with amateur photographers. Lomography detractors point out that twin-lens reflex cameras (TLRs) and folders without the distortion and light leaks can be had on the used market in the same price range.
The Chinese Seagull TLR and medium-format cameras from the former Soviet Union such as the Russian Lubitel and somewhat better made Ukrainian Kiev-Arsenal 60 and 88 are also available at moderate prices. These cameras can deliver quality images, although the lenses and camera bodies are not at the level of those from Swedish, German and Japanese manufacturers.
Used folding cameras, TLRs, and box cameras are also a cheap option to shoot medium format. Many U.S.-made folders, including most of the mass produced Kodak folders use the discontinued 620 film requiring the user to respool 120 film.
Additionally, most large-format cameras can, with the use of roll-film adapters, use medium-format film.
Antique camera enthusiasts collect "classic" medium format cameras. Names like Graflex, Omega, Voigtländer and Zeiss can quicken a collector\'s pulse.
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