PhaseOne P40+ medium format camera hits the streets of Copenhagen
By Joseph L. Flatley 
posted April 29th 2009 6:06PM
posted April 29th 2009 6:06PM
It's been a few moments since Phase One had us lusting after one of its devices, and now the company is back with a 40 megapixel system named, appropriately enough, the P40+. Like the P65+ we peeped last year, this new guy offers two separate image-capture modes -- in this case, you're looking at either a standard mode for full 40 megapixel shooting, or a 10 megapixel Sensor+ mode that gives you a four-fold increase in light sensitivity (ISO to 3200), and a 1.8 fps capture rate. Both modes feature a 12.5 f-stop dynamic range. The camera is shipping now, and it will run you a cool €16,990 ($22,073). Or pick up just the camera back for €14,990 ($19,475). Actually, you might want to think about picking up two. You know, just in case. One more image after the break.
Warning: Flash may cause extreme burns focused around the eyes.
One of those 'I'd like that but I have no money' kinda things...
Before somebody says "who needs so many megapixels... blablabla" shut up. This is for high end commercial jobs, and usually the clients pick up the bill for renting such equipment. In other words, no this is not for family picks, or 'prosumers' but for professional photographers with high end clients, like Nike, Vogue etc...
good call.
i was just about to ask who buys these....
Is the image quality honestly that much better between something like this and a 21 MP Mark III?
@bandigolo
You're an idiot. Resolution and image quality are not the same thing. This camera has almost 2x the resolution of the 5D II. Image quality is affected by the lens. Read a book next time before making a smart-ass comment.
@Billy, way to overreact. Bandigolo actually has a point. For the vast majority of commercial work, a modern Canon or Nikon will do the job just fine with resolution to spare. You only need 16 megapixel for a magazine double page spread at 300DPI. Sure, when shooting for uber-high end clients you would be using a digital back and medium or large-format camera system but it is certainly not the norm in the commercial world.
Not that I would do this myself, far from it, but I've been on the odd shoot where we have shot 48-sheet billboards with a 5D. Pretty dodgy, I know, but not many clients can tell the difference with a bit of quality post production factored in.
Jesus tap dancing christ. It was an actual question not a snide remark. And for the record - as Rick stated - 40 MP is fucking overkill for many jobs. So the question remains: without a serious boost in image quality, what is the justification for a $20,000 camera (unless the print size actually requires the extra resolution - which is rare)?
Thanks, you may return to your darkroom of hate now.
Bangdigolo: it also has a lot to do with the lenses that are available, not simply how many megapixels are being generated. This camera has a much larger image sensor than a DSLR like the 5D mkII, et al, and combined with the lenses, you will have more control over depth of field and exposure with a camera like this.
The issue goes beyond just megapixels and quality. The fact is that if you want to be a commercial shooter in New York, you need this or similar to be in the same league as those whom you are competing against. We may all want to believe that, it's in the quality of our work that should count and that it isn't about the equipment, but for the client (ad agencies), it is about emotional security that they are paying for the best and they need to know that you have the "best" equipment. Clients are now becoming very savy about name brands of equipment.
The truth on point is that these medium format digital cameras are manufactured in the thousands, not even breaking 10,000 unit per year. Yes it is not the norm for most commercial photography in most parts of the world. But for the main advertising centers it is. New York, London, Paris, etc. It has even become the norm in places like Beijing which is a market that I have worked in besides main centers like New York, London and Paris. I get routinely asked for A2 to even A0 at 300 dpi. the fact that no digital camera can get A0 at 300 dpi doesn't deter them from asking. I tell them, but then they say please use the largest available. If you try to reason with them that you can do the same with a Canon Ds mark 3, you can kiss your client relationship down the drain. I'm not Steven Miesel (and 99.9 % of us aren't), then I can not place demands on a client, but they can of me.
And last but not least, I was an art director in advertising in New York. I want the maximum size file so that I have room to play. 16 megapixel just covers the exact size of the reproduction. it is not enough for room to play for my layouts. I don't want uprez'd images. and the quality of the images ARE better on a medium format digital then a Canon. I want the photographer to use the best equipment to get what I want especially if the agency is paying him in upwards of 30-40 thousand dollars minimum. I would say the average fee of a photographer that I hired for a job was in the range of $100,000 back then. And I considered that on the mid level range of jobs that I was in charge of.
And ultimately you can not ignore new technology. Everybody who has ever ignored new technology has been left behind in the competitive world. It's the sad truth.
After using their H-25 for the past 4 years I am excited to lease their new P series. Biggest selling point for me is no tethering and no fan.
And just food for thought:
I'm betting that the 10mp mode at 3200iso looks better than any consumer SLR at 200ISO. The photosites on a medium format cam are gigantic, that's where they get their resolution. Using them together with the intent to speed things up a bit would make for a mighty impressive photo.
so, umm... is this full frame like the p65+? If so, yay. That is all.
It's medium format and is larger than full frame. A Medium Format sensor is approximately 50.7x39mm and a full frame is 36x24mm so a MF sensor has 2 1/4 times the area of full frame. If I am wrong, someone please correct me.
Uh... 'full frame' does not only apply to 35mm. the P65+ is the first digital back that has a sensor roughly equivalent to 645 film and the camera format that it is designed for, thus making it full frame in my book. I'd be interested to know if this one is too but can't be arsed finding out.
Hey Engadget. Phase One makes backs, NOT cameras!
Phase One and Mamiya are partners, and Phase One are heavily involved in the design of lenses and camera electronics. So yeah, I'd say Phase One do make cameras, even if they are rebadged Mamiyas.
Read the article, they make the camera AND the back. Yes, they are known for mostly making backs (which I assume is how they will sell most of these), but they also offer a camera body for it.
That being said, I just spent all day today working with a Phase One digital back on a large format camera and I have to say that the quality of images that come from these things is just phenomenal. The amount of detail you get is remarkable.
What were you shooting?
12.5 fstops of dynamic range is simply amazing for a digital camera.
Any rental companies carrying these? I can't justify one for every day use, but if I go to Arches or back to the Grand Canyon I'd pay a weekly rate.
I guess this is the equipment they use to take photos that are printed on those huge annoying billboards.
Wow! Either take out a loan to get a car, or this camera :D
@Eric: I just got back from Arches National shooting the P65+ (http://www.doug-peterson.com/wordpress/2009/04/moab-in-color/). There is nothing like this in the world, including 8x10 film. Gregory Crewdson just purchased one and he was a bastion of 8x10 film for a very long time.
This back is immediately available for rental (ships anywhere) and for purchase through Phase One Dealers such as Capture Integration (that's us - shameless plug - www.captureintegration.com). We're experts and training / instruction is part of the deal.
This is smaller than full frame for medium format; it is effectively a smaller version of the $43,000 P65+ which is the world's only TRUE medium format full frame camera.
Huge billboards don't actually require much resolution since they are viewed from many hundreds of yards. These backs are used in high end commercial and fine art applications where the desire is the highest possible quality.
Image quality is a total-system result: lens quality, sensor size, sensor resolution, A/D converter all play a role. Suffice it to say that these kick the butt of any dSLR in final image quality.
One easy to see example of where image quality means much more than resolution is dynamic range; dSLRs will blow out to white or render detail-less blacks much more often than a digital back which can capture a much higher dynamic range. This can be visible at almost any print size and is independent of resolution.