On the grayest of Seattle days, one dripping wet with record-setting rain, I set out to find some color with a 100MP Sony sensor. It’s inside the Phase One Trichromatic ($50k) and attached to that their kit lens, the Schneider Kreuznach 80mm LS f/2.8 ($3K).
Shooting a full-frame, medium format digital back with a 100MP Sony sensor was sort of like wearing a technicolor dream coat; well, raincoat…or when the Wizard of Oz switches to color from black and white or putting on a pair of those They Live glasses and seeing the aliens among us.
The color popped, I got some amazeballs photos, and wrote about the experience for Digital Photo Pro.
I eventually learned where and how the XF system performed best, like revving a motor through the gear range. The schelunk shutter sound is as loud as a motorbike and it vibrates distinctly through the body to your hand, changing slightly if you shoot continuously. I also learned that the onboard metering was only a guide. Consistently overexposing, at one point, I relied on the Sunny 16 rule to get the shot I was after.
While I identify as a Sony Shooter and expect my readers too do, spending some time with the Phase One reinforced my knowledge of Sony’s sensor prowess.
They’re the only manufacturer that can make a 100MP sensor and tune it to pick up exactly the right wavelength of light get the most color nuances in the most natural way possible.
The differences are natural, subtle and best viewed side by side like Phase One demonstrates on their Trichromatic page. Read about the color theory and science in these posts from Digital Transitions: Part 1, Part 2.
In the featured image on this post, look at the skier’s eyewear for another example. Then, check this photo of the Gum Wall.
And, this animation of stills taken of tie-dye vendor in the market.
Now, having seen what I’ve seen, I’ve even happier to shoot with a body like the a7R III using a 49MP sensor (1/2 the Phase One) because I know it has the absolute best sensor tech.