Phase One announces IQ250 50MP CMOS medium format back

Phase One has announced the ‘world’s first CMOS-based digital camera back’ – the 50MP IQ250. It uses a 44x33mm sensor, which is 68% larger in area than 35mm full frame, and equates to a 1.3x crop of the standard 645 format. Until now medium format backs have invariably used CCD sensors, and the adoption of CMOS promises much improved image quality when shooting at high ISOs in particular.

The IQ250 promises the widest ISO range of any medium format camera system (100-6400), together with up to 14 stops of dynamic range and 14 bit colour depth. It also sports a high-resolution 1.15MP 3.2″ touchscreen for live view, playback and changing settings, and has built-in Wi-Fi for connection to an iPad or iPhone. It’s available now, with prices starting at €24,990 / $34,990. 

Phase One’s announcement comes hot on the heels of Hasselblad’s statement earlier this week that it will also be making a 50MP CMOS-based model, to be called the H5D-50c. The two presumably share the same sensor, which apparently is made by Sony.

Press release:

Phase One Introduces First CMOS-based Medium Format Camera
Opens New Frontiers for Photographers

COPENHAGEN, January 24, 2014 — Phase One today introduced the world’s first CMOS-based medium format digital camera back. The new 50-megapixel IQ250 brings unprecedented image capture flexibility to the IQ2 family of wireless-enabled high-end camera systems. Whether photo sessions are held in the studio or on a mountainside, the IQ250 lets photographers capture stunning imagery in available light — virtually anywhere and any time.

With a sensor size of 44x33mm, the IQ250 offers 68 percent more image-capture real estate than any full-frame 35mm DSLR camera and the widest usable ISO range of any medium format camera system. Its phenomenal dynamic range of 14 f-stops enables photographers to capture the most demanding scenes in one shot, while retaining details in highlights and shadows.

Flexibility in Action

The IQ250 is designed for capture versatility; it has an ISO range from 100 to 6400, delivering world class image quality at any ISO speed. And its range of exposure time is extreme — from 1/10000s to one hour. Fluid and responsive Live View is another key feature of the IQ250. Live View on the IQ250 offers great composition and focus assistance — whether it is used directly on the digital back, connected via USB3 to Capture One on the computer, or displayed wirelessly on iPads or iPhones running Capture Pilot.

Award-winning Australian wedding photographer Dan O’Day has found the IQ250’s abundant dynamic range to be a game changer. He said, “I shoot the majority of my work on location, and I prefer to shoot only using available light. With the IQ250, I can shoot portraits of couples any time of day, under just about any conditions Mother Nature offers me, and still retain all the details. Couples rely on me to capture one of the happiest moments in their life, and they expect the outcome to be perfect. With the IQ250 I can deliver on this expectation with greater confidence, quality and detail than ever before.”

“My photography work spans several genres, so flexibility is extremely important to me, said California-based wedding and portrait photographer, Justine Ungaro. “The IQ250 has been absolutely life changing in allowing me to capture gorgeously clean and crisp medium format images on all of my shoots. This new back has transformed my existing Phase One 645DF+ camera body and wonderful range of Schneider Kreuznach leaf shutter lenses into a workhorse kit which is quickly pushing my other camera gear to the background. Along with Capture One for image processing, I’m so pleased with the truly superior image quality with a dynamic range that is simply incredible.”

“We are very proud to introduce the Phase One IQ250 which carries on the tradition of Phase One high-quality medium format gear,” said Henrik O. Håkonsson, CEO & President, Phase One. “The wider ISO range in this new CMOS-based system, for example, illustrates our desire to continue pushing the envelope for our customers, to help them succeed in all of their unique imaging challenges.”

Pricing and Availability

The Phase One IQ250 system is available now and may be ordered through Phase One
photography partners worldwide: For a complete list of all the Phase
One IQ250 digital back features, including supported camera bodies, please see

Prices start at 24990 EUR / 34990 USD. The Phase One IQ250 comes with Capture One software
for optimal raw image processing and image editing. Attractive camera system upgrade offers are
available for all existing Phase One photographers. For a demo of this product, please sign up

Phase One IQ250 Specifications

Phase One makes Capture One 7.1.4 available

Capture One Pro 7 update extends raw support to multiple new cameras

Phase One unveils IQ280, IQ260 and IQ260 Achromatic digital backs

Phase One releases Capture One Express 7


Black Box

I wonder how they judge wedding photography for those awards? The widest smiling gold-digger? The most drunk guest? Seriously, I just don’t see how a photographer can improve, say, an unfortunate dress or a mother-in-law who just had too many margaritas. Sounds like “the cleverest kindergartener”.


I am only wondering why it is not full frame at this time of the year.


Hi there light lovers 🙂
I was searching the web but couldn’t find anything about Mamiya FF model. Am I missing something or there is a typo in the section with the compatible cameras?
Have nice weekend!


I’d rather burn money on a Zeiss Otus and a D800e.


I’d rather burn money on 5 Zeiss Otuses and 5 D800e’s

Juraj Lacko

I would rather burn money on rx1 and a sports car


You have your priorities straight on the sports car option.


You can shoot a lot of film for that price, with a larger dynamic range.

Does DPReview do reviews on this equipment?


The name of this site is “Digital Photography Review” so do not expect film or film cameras to be reviewed here.


Larger dynamic range, right. Your sources are like 5 years old.
Film can only dream about 14 DR stops.


The entire debate of film vs digital is ridiculous and, as they say say, “purely academic”; it’s a matter of quantization. As a middle aged commercial photographer I have a fondness in my heart for the silver processes for everything form Kodachrome to Portriga Rapid – but those days are gone. Film and paper will carry on as a fine art medium just as charcoal pencils and artist’s oils are still sold and used. If you yearn for that film look, there are some plug in’s sold by DxO and others that look quite realistic. Comparisons are meaningless at this point.( I sleep with a box of 4X5 Tri-X under my pillow – OK)?


Is the video 60p?


Does it support 4K or 2K video? Progressive or interlaced? fps?


PhaseOne… I’m still waiting for a Full Frame you know, don’t take the same road as Pentax please, I’m tired of waiting for bigger sensors !

Mike Griffin

Nice portraiture on your website


I agree, I would love to see a low res sensor that matches a true Medium Format frame. These medium format backs increase in resolution every year but fail to provide the look and feel of true medium format images


> a low res sensor

if the pixel pitch is about the same as mobile cameras, it’ll match the coarse grains of low quality color negative.

Steen Bay

IQ180 has a wider ISO range than IQ250 (35-3200 vs 100-6400).


35-3200 is ~6.5 stops of latitude. 100-6400 is 6 stops.

Jeremy Park

geeze how long did it take Phase and Hasselblad to work out CMOS sensors are better for flexibility of shooting ( something most non-studio based photographers need )…. now, if they could only work out that they are way over charging for it.

M Lammerse

Cost was the main reason. The technique is already a couple of years there for Sony to produce huge (mid form) CMOS sensors, but it was just too expensive.

Nikon and also Sony itself is rumored to deliver a mid format camera the coming years.


I’m sure the P1 and Hassie engineers were aware of the benefits and trade offs.

Since you’re apparently unaware growing big silicon wafers with sufficiently few defects is harder than small.
That’s why we started with point n shoot digital cameras, moved to APS-C, 35x24mm, MF.
One day we’ll even have large (consumer affordable) format cameras.


Nor did Phase one work on it, nor did Hassie. The sensor is the 2×24 mpix clone of the sensor Sony uses in the A7 and D800. It has exactly 48 and a few squeezed megapixels and is exactly the double in size, made by Sony.


This will definitely be in Pentax 645D II, it’s the same size and is made by sony, already used in Pentax cameras.This will be a tough sell for Hassleblad or Phase one, if 645D II comes at a 10k price point like their last one…

Tonio Loewald

Next year Sony will announce a pocket-sized medium format Alpha camera with a single 4lb lens.


Looking forward to its silver award


…and people will complain.


CMOS sensor is expensive to develop but once when is in the production the cost per unit is less than CCD sensor. I guess that finally we will see a price drop in the market of medium format camera as time past and maybe in a few years (or a decade), we, mortal people will have opportunity to buy one.


Medium format cameras are like astronomical CCD cameras; the price never seems to have fallen over the years like consumer camera prices have.


But the market for astronomical CCD cameras is relatively small.
If the forums are to be believed shallow DOF and increased surface area for light gathering are the holy grail – that’s what all the 35x24mm shooters claim.
That’s why APS-C and *spit* M43 are unacceptable.
Therefore we should expect the CMOS MF to shunt 35x24mm aside just as soon as they are cheap enough.


The market for astronomically priced CMOS cameras is alive and well though!


The combination of AF performance, high ISO performance, fast aperture lens selection, portability, and affordability are what will likely coninue to keep medium format a tiny portion of the pro digital camera market. Just like smaller formats frequently lose to full frame in most of the areas listed above (aside from portability and sometimes affordability) so does medium format though the gap is even wider. Medium format simply hasn’t had the development money spent on it that full frame has. Stopped down base ISO performance is the only area in which it has an advantage.


Make that cameras in mirrorless, with smaller body, 48 mpix sensor and a price range of 3000$ for the body, and it sells. The disadvantage of medium format digital is size of material and size of the files. 80 – 250 mb for one shot, so calculate the octocore processor, the 256 gb ram and the 4 x 3 terrabyte disks into your budget right away. Here, all is about size only, starting by the price of the material.


I wonder if the day will come that someone will dare make a sensor in a digital medium format camera that is actually several smaller sensors put together rather than one big one. Surely with clever processing, easily available in this day and age, it should be possible to equalise any small differences between the sensors in the output, just like there is processing going on behind the lines to correct CA and distortion in several cameras. If that could make an affordable medium format camera, I’m sure there would be many potential takers.

3×3 APSc sensors would make a nice size of roughly 60×45


You don’t get it. The size of the sensor is important.


I believe there was a capture back marketing by Sinar about 15 or so years ago based on similar (multiple sensor) technology. They offered (I think) a single, four and sixteen exposure option for greatest detail and dynamic range. I remember the system was priced comparably with that of a Mercedes S class sedan at the time. I welcome any corrections.

Joe Ogiba

Fotodiox RhinoCam Mimics a Medium Format Digital Camera Using A Sony NEX Camera


@howardroark. Yes, size is important. That is also part of my point. But size isn’t just one sensor but also potentially multiple sensors together. The Gaia satellite has 106 sensors in an array – effectively a 1 gigapixel camera. But would it have been better had it had been just one big sensor? If you can explain to me why multiple sensors won’t work, I’m happy to listen. Otherwise, “You don’t get it” really is a good example of bad rhetoric.
@jaygeephoto. Well 15 years ago, even the simplest digital cameras were rather expensive.
@Joe Ogiba. I believe I have seen on eBay the same thing for Canon and Nikon and probably other lens fits too that turns it into a large format camera. Quite a simple thing, really. If you have plenty of time and your subject isn’t going anywhere, it can be pretty useful, I guess.


size matters, in a satellite this is not important, a 106 sensor array will not fit in a case around your neck. But, some day I could imagine a 3 ccd system for photography. Foveon split in 3 separate sensors, the absolute top.


I guess Rome has fallen (again):

Either that, or the three little ships Didn’t sail off the edge of the earth:

Will there be an option to attach it to a folding Fuji 645?


Terrific to see some serious competition for Micro Four-Thirds!

Jimmy jang Boo

Mirrorless windbags of the MFT system won’t see it that way.


You sound like someone with a very small ……. camera.


I think all the “FF” shooters will be abandoning their D4,s D800s, 1X, and 5DIIIs in droves – imagine the pixel size and shallow DOF available with CMOS MF.
No reason to stick with tiny 35x24mm anymore!!
Imagine a DOF approaching the short side of 7 microns!!

Just another Canon shooter

Nah, m43 is better even than MF.


the strange thing is that the depth of the mirror chamber, making the distance to the sensor and the lens larger, reduce the DOF effect. As a young man, I used medium format to get rid of the shallow DOF and get all in depth sharpness, what was a clue with 24×36. That is why I stick to smaller sensors today, the type of shots i usually do need in depth sharpness.


I noticed that they are using Sony file compression in this camera; I wonder if the forums will be as upset with this development as with the A7.


the sensor is Sony’s A7 24 mpix x 2.


What? They gotta be joking?! Why even introduce 33×44 SMALL sensored digital back now?? Who cares if its CMOS if its not at least 6×4.5 or better 6×6?

Rooru S

“The two presumably share the same sensor, which apparently is made by Sony.”

It’s confirmed by Phase One they’re using a Sony sensor and they have knowledge Sony is selling the same sensor to several manufacturers.


DPR at its best.


I’ve just checked, the Hasselblad H3D-22 & 39 used 36×48 sensors 16bit colour depth. The H3D-31 used 33×44, same size as this new cmos, but 16bit also.

Same goes for the Phase One IQ280

I’ll need to sell a kidney & a spleen & a big toe, to get this one LOL!!!


Only US$35K? What a steal….I’ll take three!

Luke Kaven

None of these were actual 16-bit sensors. They just produced 16-bit files (like every other DSLR) and marketers conveniently let people think they were producing actual 16-bit output. You need something to sell backs at $35k+.

This new Sony sensor, though, is likely to put out a real 15-bits for the first time in medium format. It will earn the top spot at DxO for now.


Not sure where that 16-bit info is correct in the case of Phase’s documentation and even reviewers show for instance on the IQ180 / IQ280 that “…the back captures a full 16-Bit RGB image (16-Bit OptiColor+) and creates a 480MB 16-Bit TIFF”. 16-Bit OptiColor+ is actually a feature on the IQ260 as well.

Not in anyway disagreeing with your information just providing some other info that is out there. Whether this is worth 35K+ to someone is a personal choice.


The manufacturer states 14 f-stops which equates to 14 bit DR at optimum ISO. Increase the ISO and the low order bits become swamped by noise, reducing the DR. 16 bit word length is used for convenience and to simplify the processing.


Let’s be patient until we see a comparison against the D800E. (How much we can pay over $3.000 just for some 25% more linear resolution?)


Oh dear…


Yes, I’m waiting for Full Medium Format too. These puny sensors are like DX vs Full Frame when compared to 6×6.

Gaëtan Lehmann

Pro don’t care about touchscreen! (according to the dpr forums)
This must be a toy camera 😉


MF is different animal, touchscreen will be more benefit.

Which cant be said about small 44×33. But I guess Sony cant do bigger right now.. Well, they will in time. 🙂


Yes they can. It boils down to cost & profit margin. With big sensors, the yield is lower, thus more costly.

I remember reading about cost of manufacturing FF sensors was US$200 & APS-c sensors US$45, that was 2003. Many co. have since switched to CMOS mainly becos’ of cost.


Shouldn’t a 33×44 sensor then be something in the neighbourhood of $700? And a true 60×60 around $4,000? One would think it should be possible to make the medium format cameras a bit cheaper than they sell them for now.


It’s not that easy. There are some production bottlenecks in fabricating larger chips. First there are imperfections, so there is relation to the area. Then there is a reticle size and manufacturing the proper mask. Making a sensor as large as a 6×4.5 will require building a specific machine for that purpose.

Here’s a breakdown of costs in fabrication of electronics:


Looks like Sony is standardizing on the 0.69 crop of the Pentax 645D type sensor. Look for a new 645DII in the future with a Sony CMOS sensor? If it drops the price into normal people range MF might get back in the wedding market. The 645D was always built to the truly rugged stds of Pentax bodies the K3 is rated -10 to 45C and I’ve used a K5 down to -25C with no ill effects and up to 48C also no problems.


who is?

the crop factor has been used by digital backs for eons now.


Sony is – this is CMOS. Original Kodak digital MF was .5 crop much less than eons ago. That one was more like 6X45 as they say. The 44X33 is a good compromise though if it results in more cost effective products.


The actual sensor size is 44x33mm. Same size as that of the Pentax 645D. So. How long before Pentax (sorry, Ricoh) announces a 645D II featuring this new CMOS sensor?

Svein Eriksen

Pretty close to Leica S format too


I think Sony are gunning for the most universal size they can, so they can sell to as many MF OEMs as possible. This sensor wasn’t developed for one camera nor one manufacturer.


Which is as close to Medium Format as APS is to 35mm format. The cameras may look the same, but the sensor is a far cry from what I’d consider medium format. Call me back when they put a 6×6 or 6×7 sensor in an OTS digital back.


Still small format compared to 6x6cm film, or even 645


If you use one of these backs for your living you do so because you know it is way better than any FF. Period, as they say in the US of A.


Actually, no.

The 645D and H3D are no better in many regards compared to, say, a D800E. You get slightly more resolution and marginal color depth advantages at base iso, but once you go over 400 the D800E floors every CCD back on the market. Not to mention that the 645D files actually look dirtier compared to the D800E, because of the CCD’s shadow noise.

I expect this back to change the situation, but I know quite a few photographers working with “budget” 645 systems that switched to 135 in the past year or two.


I get MF stuff in all the time, and when I composite it with D800 stuff nobody can tell the difference.

Coming from an Large Format film background, I’m all for quality, but paying for something you can’t see is silly.


When the price drops to $1,250 I’m buying !

Mikael Risedal

Both Hasselblad and PhaseOne will probably ensure a picture quality that they consider acceptable = 6400iso.
You can after that underexpose RAW 1,2,3 stops =and photograph in the “iso” you want, 12800 , 25600 etc etc

Elaka Farmor

If it had 4K 120fps I would sell my apartment and buy two 😀


It’s not a still cam that can do video but still…. if it can do video, I’ll sell my apartment for 8K 120fps 😀 (4K is “only” 10~12MP)


Interview with Phase one management on Luminous Landscape, states the sensor will output at 30 Hz, but they are not doing video. Potentially another maker, Sony is selling the sensor to anyone, will make an 8K 24fps video camera from it.


I was wondering here… it’s a Sony sensor, so there’s no doubt they had the latest sensor design available on their hands, right ?

But if the ISO range is still a bit short (max. 6400), can we presume they didn’t go further for 2 reasons?

Image quality. It’s still a DMF camera. Don’t throw in ISO 1 billion just for the sake of showing off.

ISO 6400 must be of high quality. No need for show off ISOs (like 200k… I’m looking at you, D4 and 1DX)

A sensor this size generates too much heat, stopping them from going further, even with a CMOS design.


I mean, it’s a Sony sensor… something must explain why “only” ISO 6400.

Samuel Dilworth



The ISO range is perfectly normal. Other cameras top off at 6400 as well and extend their range with digital amplication.. on Nikons these are called H1, H2, etc.. to differentiate the ISOs from the real analog amp


Very high ISO settings in most cameras are not “real” but are simply multiplications of the captured signal. An increase of true CMOS gain results in less absolute noise (read noise as measured in electrons). But actual CMOS gain tops off somewhere between 1600 (e.g. Canon 40d) and 6400 (in the case of the latest and best sensors). All “ISO” above that are primarily an artificial multiplication of the signal, which does not decrease absolute noise nor increase actual signal. Of course there are many DSP functions that are applied to artificially high ISO (e.g. non-linear scaling and color balance) , so it is useful but it does not increase true sensitivity (though clever DSP can sometimes make it seem so).

So the 6400 limit may simply be an honest setting. The user can shoot raw and then goose up to an artificial ISO as desired.


whether it’s analogue amplification or digital amplification it’s STILL amplification


Looks like both Hasselblad and Phase One new backs use the same 50MP CMOS sensor made by Sony!

Mikael Risedal

Its made by Sony and it’s probably the same sensor in Hasselblad 50Mp


ccd is twhy a medium format is unbeleiveble even compared to any ff camera at base iso…im sure the mformata will lose this magic and resemble a d800 with just more pixel.
stupid move


MF looks like MF because it’s MF, nothing to do with CCD or CMOS, FILM MF also looks like MF after all.


dont have a clue what u talk about…my pentax k10d used a 109 million ccd sensor…all considered i like the images she produced much more than any cmos sensor i have used. ccd is much better it creates a natural images,m the cmos images are flat even those of d800. flat as hell, plastic.


CCDs respond in a more non-linear pattern compared to CMOS sensors. This does not mean that they are better.

I’ve worked with a number of bodies, CCDs such as the M9 and 645D have NO ADVANTAGE over bodies such as the M type 240 and D800 in terms of dynamic range or color depth. The very best CCD DMFs have more depth simply by virtue of their huge pixels.

If you want to push your files around at all, a CMOS camera is the way to go.

Eric Hensel

It’s not 1976 anymore, Jonny 😉


in my opinion the rendering of ccd is better, and i’m not talking of pushing dynamic or color depth..simply when i look at d800 images i see a k5 image blow up, with my 645d am always blown out like i am with good foveon images. the same come from other pentax 645d user i know who own also the d800.
it’s a natural image, the raw are perfect no need to pp to produce excellent images in most of the light, superb reproduction of secular highlight also for studio work.
cmos in all the camera i have used and k5 has more dr than 645d very similar to d800, seems to flatten all the images.


i suggest many here to rent a 645d with good glass, take their tripod and shoot some long exposure…the smoothness of the sky even at very long exposure is something to be seen. but i think many here never shoot or manage to work with mf files.
personally i wait for samples but in my opinion mf is not high iso, for high iso i will use any dslr with fast lens, i don’t need noisy raw file of 100 more mb. and i think the same think many phase one users.


So, how much of a drawback would it be to hold a Nikon D800 in portrait orientation and take two or three overlapping shots for a panorama, which would easily equal or exceed this $34,000 back at least as far as resolution?

A $30,000 premium for avoiding a second click in the field and three clicks of a mouse seems to me a more obscene bargain than a Hasselblad Luna.

Do you think anyone could tell the difference in the files in a blinded comparison?


i use a pentax 645d and the resolution is the last of the problems…the image is simply much beautiful, and there are friends who use both and know which produce the bes files. i agree at 34000 dollar is a no game to buy.,..a pentax 645d that sell at 6999 dollar.


Pentax’s $7000 645 produces better images than the D800, never mind this $35k device.


Gingerbaker, it’s not only about resolution.

I have a 22mp digital back (gorgeous foveon like files), and a D3X.

Both about equal in resolution, but I can tell in a blind test, which camera produced each file.

In fact, I can spot them very easily.

DMF really has a look of its own.

The size of the sensor, the CCD rendering, the differences in CFA, and schneider krauznach glass, makes it very easy to set them apart.

But I guess one thing… with this CMOS move, DMF and 35mm will now be much, much closer in general “look”.

I don’t think that’s exactly good news…


How can you tell in a blind test if you cannot see the picture?


At Peiasdf:
gingerbaker referred to telling the difference in the files in a blinded comparison rather than in the pictures


Blind test simply means (in the case of photography) that the viewer is blind to the information. In other words, he or she views an identical image at the same size (say, an 8×10 glossy printed on the same printer) from two different devices (or combination of devices).

The two 8×10 prints are given to the viewer, and the viewer knows only that different equipment was used for each photo. The viewer decides which one is better or is asked to guess which one was made by which device.

information is revealed after the viewer makes a judgement or decision.

It’s like Pepsi or Coke. You hide the cans but the taster can still see two cups of soda. He or she tastes them and decides which one is better OR tries to guess which one is Coke or Pepsi.

Then they find out if they are correct.



Black Box

Working conditions 0° C – 40° C at 15 – 80% humidity. So November wedding in Oslo or July wedding in Dubai is out of the question. And so is any work in the Carribeans or Hawaii where a lot of weddings happen.

Samuel Dilworth

Roughly the same working conditions as the world’s toughest 35 mm SLRs:

Canon EOS-1D X:
• 0–45°C
• less than 85% humidity

Nikon D4:
• 0–40°C
• less than 85% humidity

Just because the ambient temperature is −10°C doesn’t mean the camera is at that temperature. And even if it was, chances are it would still work okay.

Temperatures in Hawaii and the Caribbean (and almost everywhere else) never really reach 40°C, though high humidity may occasionally be a problem. But these cameras would probably work just fine in high humidity as long as it isn’t condensing.


I’ve used my old D90 in -20 degree celsius and it works like a charm
I bet this thing can do it too..

Black Box

As far as I know they use graphite lubrication on moving parts. And my experience with cameras all the way down to -62C says that they stop working properly way above that extreme.

But that actually wasn’t my point. In fact, what I seriously doubt is that this Phase One thing will outshoot the abovementioned D4 in ANY situation. Maybe “on the pixel level” there will be some difference the geeks will claim is decisive. But for regular punters who just want nice wedding photos it’ll be lost. So why pay a 15k premium for something nobody will appreciate.

Paul Guba

Interesting they used a wedding photographer to talk about this back. Wondering if that is a market they hope to compete in. Back in the day MF ruled weddings. Today the current cost for entry in MF just priced them out of it. I guess the extended ISO is good and all but its not really the tool I would reach for in a situation where there is limited light. It never has been going back to film. So other then a technical achievement I am left scratching my head why.


The next format Sony is going to take down. A10 in MF ?


What format is taking down by Sony? Don’t get me wrong, they make nice camera’s. But they didn’t take anything down.


Well I think they sell more A7’s and A7R’s in a day than Leica has sold M240’s since launch…. The only other FF sans-mirror ILC.


which is still probably a drop in the bucket compared to FF sensors based cameras as a whole .. sony hasn’t managed to “take down” any format.


Why should they take down anything? They sell all the sensors to everyone.


Only 14bit colour!?! Also, the FF sensors are already 14bit and exceeding 14 stops of DR! The next D800 replacement will already be hitting 54mp.. combine that with Zeiss OTUS lenses!!

It seems they are trading off DR for more useable ISO range!


same size sensor as the Pentax 645D, but a hell of a lot more expensive!


And I thought Phase One is pretty strict with a full frame medium format 6×7 sensor

Anyway, it looks like a downgrade to me, 14bit colour? Used to be 16bit with very wide colour gamut & DR. The only thing it boosts is “low noise”

Guess economics took its toll on this one as well


Nobody has ever did a 6×7 sensor I guess, not even a 6×45!
The Pentax 645D is called a 645, and everyone not owning one thought it was a 645…but no…it’s still cropped


The Phase One spec sheet says 16 bit TIFF.


The part “14 bit colour depth” means raw files, not processed 16bit tiff. Any camera raw file can export 16bit tiff, even the 43/m43 12bit raw files.

I’m not sure about the crop part, but the Phase One IQ 280 brochure says “Lens factor: 1.0/full frame” & “645 full frame ccd”, if only I could post a screen grab here to show…


@ silentstorm – yes, but 6×7 and 645 are different things. Usually they are 645, but this is slightly smaller, like the (rather confusingly) Pentax 645D. It is about a 1.3x crop to standard 645. 6×7 is bigger again and I am not personally aware of a digital version of 6×7.


I wonder who makes this CMOS sensor…


According to Sony Alpha Rumors, it’s the same sensor that Hasselblad is going to use. Which means, it’s a Sony sensor as well.



In the first post by PhaseOne dealer:


How much?…. I’ll have two! Nice if you can afford it.





Anytime now someone will be along comparing this to the Olympus EM-1.


If someone said the EM-1 has exceptional IQ, what could they say for this…


it’s comparable with the E-M1 when you print on A3 paper. besides, the lenses are a lot larger, and the whole package is more expensive. the E-M1 is still the best.


@ agentul – Bahahahaha! Yeah ok man, keep believing that… Olympus users are the most gullible around 😉


i wonder how good this camera is for selfies.


Exciting MF times!


When will we see a full frame?


Likely not for a while, this is the first CMOS in MF, there will be reasons why they are only making them so big for now.


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