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A Wedding with the Pentax 645D and the Fuji X-100
Note: all of the Pentax 645D images were shot in RAW and processed in Lightroom 3. Images have white balancing, exposure bumps or black level adjustment but no other enhancements have been made. These are Photoshop-Free Images. The bride had perfect skin, and we didn’t even need to use the healing brush. The Fuji X-100 images were shot in RAW and processed in Lightroom 3 with ONLY white balance adjustments. Camera settings were all manual.
We’ve put together a unique gear kit for photographing weddings this year. After selling all of our Canon DSLRs earlier this year we invested in some new and unique cameras for capturing our images. I believe we are entering an exciting time in camera technology. For the last 10 years the only real camera option for professional photographers photographing weddings and portraits has been a Canon or Nikon DSLR. It’s true that these are amazing cameras that can do nearly everything well. However, I do feel that sometimes a DSLR is not always the right tool for the job.
Back in the days of film you had a range of different camera body styles to choose from including single-lens reflex (SLR) cameras, twin-lens reflex (TLR), and rangefinders, to name a few. Each of these cameras had distinct advantages and disadvantages for a particular type of photography. A photographer was free to use the same kind of film in any of these, and could choose the camera body that best suited the assignment at hand. Everything changed when digital arrived. Until very recently the only option you had when purchasing a quality camera was a digital single-lens reflex (DSLR) like the Canon 5D or Nikon D700 with a sensor slightly smaller or the same size as 35mm film.
In the last year, thanks to innovative cameras from Fuji, Pentax, and others that is beginning to change.
Last year Fuji introduced a revolutionary camera in the X-100 that combined all of the modern benefits of digital technology with the advantages of a classic rangefinder body. This is a photographer’s camera to the bone with manual dials for shutter speed, iso, and lens aperture. It also features an amazing hybrid optical viewfinder that provides a view of the world far beyond anything a DSLR can provide. It’s virtually silent and is small enough to fit in a jacket pocket. It’s the perfect form factor for documentary work, photojournalism, and candid wedding photography. For me, it’s the most significant advancement in digital cameras since the Canon 5D. Things are getting even better with the soon to be available big brother to the X-100, the Fuji X-Pro 1 that features interchangeable lenses, an new and advanced sensor design, and refinements to all of the technology introduced in the X-100. These two cameras will be our tools of choice for all of our wedding coverage except for portraits. We’ve got an even better tool for that.
The workhorse camera we’re using for all of our portrait work is the medium format 40 megapixel Pentax 645D. The Pentax is a revolutionary camera in that it brought the quality and size of medium format sensors into a DSLR package that managed to break the $10,000 barrier. Much has been written on it both online and on this blog, so please check out our other articles for more of our thoughts on this amazing camera. This article hopes to focus on it’s use during a typical wedding.
Pentax 645D • 150mm lens • f5.6 @ 1/125, 540iso
After much consideration on which lenses to buy to offer the coverage I needed for both wedding and portrait work on the Pentax 645D I settled on three lenses: 45mm f2.8, 75mm f2.8, and 150mm f2.8 primes. Pentax doesn’t have much in the way of zoom lenses that suit my needs, so figuring out which primes to go with was a difficult choice. You have to remember that while the focal lengths of the lenses are the same on medium format as they are on 35mm systems, the angle of view and depth of field is different. On 35mm cameras a 50mm lens is considered a ‘standard lens’ that is roughly equal to the perspective of the human eye. On medium format cameras, however, a 75mm lens is the ‘standard’ lens because of their larger sensors in relation to the lens. To further complicate matters the Pentax 645D is not a full frame medium format sensor – it’s roughly 30% smaller – so there’s a multiplication factor involved to figure out what focal length equivalent each lens has on the Pentax body. To do this, you have to multiply the focal length of the lens by .78 to find it’s true perceived focal length on the Pentax. By that standard, the 75mm lens is equal to a 58mm lens on the Pentax 645D.
I found the 75mm gave me the greatest flexibility while shooting the wedding and used it for most of the indoor formal portraits with the exception of the large wedding groups, the ceremony procession, most of the outdoor portraits of the bride and groom, and the majority of the reception.
The 45mm lens worked better during the preparation coverage I shot of the groom since we were working in tighter spaces. I also used it for the larger group portraits and sparingly at the reception for environmental shots.
The 150mm lens worked well during the ceremony. The church was only 12-15 rows deep so it had adequate reach to cover the details of the ceremony from the rear of the church. I’m definitely going to need to add a longer telephoto to my kit when money allows to cover larger churches. One benefit of a 40 megapixel chip is that I will have the ability to crop very tightly into an image to compensate for shorter lenses while still retaining excellent detail in the final photograph. Not ideal, but it will work until I can pick up a 200mm or larger lens. I did use the 150mm lens for some of the outdoor portraits. However, one thing I do miss from my Canon kit is the image stabilization. None of the Pentax 645 lenses include that technology and I did not have enough light to use a shutter speed I was comfortable with for most of the outdoor portraits. I discovered that my limit for tack sharp photos on that lens during the ceremony was 1/125 of a second. I was 50/50 for keepers at 1/60 of a second. With the Canon 70-200 f2.8 I used to shoot with, I could easily shoot at 1/30 of a second at 200mm with the image stabilizer assisting me. I’m going to be carrying a monopod with me to future events just to be on the safe side.
While the Pentax 645D was the primary camera at this wedding, it was only used as such because the newest camera to be added to our kit has not yet been made available in the United States. We’ve pre ordered a Fuji X-Pro 1 to be the main camera for all but the portraits during our wedding coverage. Using the Pentax for most of the weddings shots is a little overboard. It’s like using a sledge hammer to hang a picture. However, after shooting a complete wedding with the camera I can say it is more than capable in every respect. While it’s true it lacks the responsiveness and autofocus prowess of any Canon or Nikon DSLR, I found it more than adequate in these respects while still delivering stellar image quality at all ISO settings. All of the portraits were shot at 400-640 ISO and the preparations and ceremony shots were taken at 1600 ISO. I was very impressed with how well the images held together at the high ISO settings.
While the Pentax was on the slow side to focus during the dimly lit reception, I found that using the dedicated autofocus button on the rear of the camera to prefocus with my thumb while waiting to trigger the shutter with my index finger solved this problem. I had little trouble achieving quick focus after that, and found the autofocus system to be very accurate. While not as good as the Canon system found on the 1-Series bodies, it was better than both the original 5D and 5D Mark II we’ve shot with in the past.
My second shooter photographed with the Fuji X-100 during the entire wedding. Her main focus is to cover the Bride’s preparations, the rear ceremony shots, and ‘grab’ shots during the reception using on-camera bounce flash.
We have to admit that after photographing over 300 weddings with Canon DSLRs, the Fuji is the most fun we’ve ever had using a camera. It’s a perfect camera for the candid, photojournalistic shots we strive for as part of our wedding coverage. It’s virtualy silent and is small and unintimidating to our subjects. It excelled at capturing images using just the ambient light only. We found the high ISO noise performance to be equal to the benchmark 5D Mark II, but the Fuji images have something special to them that you can see, but not describe. It’s something about how the camera renders the transitions from shadows to highlights, and the beautiful, saturated colors it captures that sets the Fuji apart. Something that’s only apparent after a 7 hour wedding day is how much lighter this camera is than lugging around a full compliment of Canon gear.
We’ve shot extensively with the camera in personal use and have loved the results we’ve gotten. However, I’ve spent hours reading reviews online and forum posts complaining how the camera was too quirky and had focus and speed limitations that prevented it from any serious use. I completely and whole-heartedly disagree. We had nothing but perfect performance from the camera with quick and accurate autofocus and never found ourselves waiting for the camera to catch up to our work. My second shooter has photographed with a Canon 1D Mark III for years and has come to expect speed and responsiveness from her gear. She never once longed for the Canon while shooting with the X-100 this weekend.
The 35mm equivalent lens on the X-100 was an excellent choice by Fuji for the type of work we used it for this weekend. It was a perfect compliment to the longer lenses used on the Pentax during the ceremony and reception and provided an excellent angle of view for preparation coverage. While working in tight spaces we were still able to create the shots we needed and we were able to work in close without becoming part of the action as well. It’s amazing how freeing it can be to have a camera with a single focal length. You become a lot more involved in the process, zooming with your feet instead of your lens and working a little more on composition. Having such a simplified camera also leaves you to focus on the images your making rather than changing camera settings.
I do have to point out one thing in particular about the viewfinder technology in the Fuji X-Series of camera: combining the beauty of the optical viewfinder with the ability to have an instant review of the image you just photographed appear in the viewfinder is a brilliant idea. This feature virtually eliminates the need to ‘chimp’ by looking at the back of the camera at the LCD after every other shot. You can keep your eye to the finder, see the shot to check exposure and composition, and be instantly ready for the next shot. It’s a very freeing thing to still have the ability to review your images as you shoot without missing a moment of the action.
Due to the fixed lens nature of the X-100 you certainly couldn’t use it as your only camera during a wedding and provide the necessary coverage. However, with the interchangeable lenses of the X-Pro 1 we have coming later this month I truly believe we have a perfect duo for our work. The difference between using the optical viewfinder found on the Fuji X-100 compared to looking through the lens on a DSLR helped us to be more engaged with our subjects. It was a completely different feeling working with a rangefinder-like camera. In the past people sometimes acted like pointing our big Canon DSLR at them was like aiming a gun at their heads and they would duck and hide. Using the smaller Fuji camera left them feeling much more comfortable. The camera is so quiet they never knew when we were photographing them – an advantage I had never imagined before that further helped us document the wedding without intruding on the special moments.
We light our receptions with two Einstein strobes to better control the quality of the light during the event. We used the Pentax 645D to trigger these lights remotely and used a non-dedicated LumoPro flash (similar to a Canon 580EX) mounted on the X-100 so that the photographer can move freely around the reception venue to capture candid shots of the guests. The Fuji worked very well using the external flash, producing balanced and pleasing images.
Being our first professional outing with both camera systems, we have to say they exceeded our expectations. We’re even more excited to use the Fuji X-Pro 1 when it arrives later this month as we’re certain it will outperform X-100 by a significant margin. Check back soon as we continue to update you on our experiences with these new cameras. Let us know if you have any questions in the comments!
To see more of the images from this wedding made with the Pentax 645D and Fuji X-100, check them out on our blog.
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WHY THE CHANGE:
If you’ve been following the blog recently you’ve probably seen that we had an absolute fire sale on all of the Canon Gear I’ve trusted and owned for years. Now we’re going to discuss where all of that money went: my $12,000 investment into medium format digital photography.
There are tons of resources available on the internet that can explain in great detail the pros and cons of medium format vs. 35mm photography. I had my own technical reasons for wanting to upgrade, but my real desire for change is more complicated than just camera resolution and dynamic range.
My decision to switch to an entirely different format and camera manufacturer was not so much based in any particular deficiency in the Canon System or the images their cameras captured. I’ve produced a portfolio over 10 years that I’m very proud of. It was more of a challenge to myself as a photographer to grow into a new format that is capable of so much more than I am right now.
You see, there is an entirely different mindset that comes into play when shooting with a medium format monster such as the Pentax 645D. It’s capable of producing amazing images that will shame any smaller format digital camera on the market, but it’s a lumbering, giant beast of a camera with all the grace of a drunk monkey on a unicycle. You have to think your shots through much more than you ever did with 35mm cameras. The sheer size of the 70mb RAW files and the glacially slow 1 frame per second shooting speed demands it. Gone are the days of “spraying and praying” dozens of shots of the same pose with the hope of picking the best frame later on the computer. This way of shooting appeals to me on so many levels as a photographer, and something I’ve strived for in the last couple of years. The older I get the more I realize it’s not about the number of times you press the button, but how good the image is when it’s pressed. I’d much prefer to come home with 40 perfect pictures than 400 poorly executed images. It’s kind of a mental game too – trying to live up to the potential of the gear you have. There’s also no denying that you’d just feel silly taking crappy pictures on a $12,000 camera…
So in the hopes of raising the level of images I’m creating, standing out in a crowded market of photographers using the same cameras, and the pursuit of the ultimate in image quality, I made the plunge into the world of medium format.
MY CREDENTIALS:
Before getting into the nitty gritty of the camera itself, I wanted to present my credentials so that you can properly judge my opinions. I’ve been shooting professionally with digital cameras since 2001, exclusively with Canon DSLR cameras. I’ve owned and photographed tens of thousands of frames with the Canon D30, D60, 10D, 20D, 60D, 5D, 7D, 5D Mark II, 1D Mark III, and the 1Ds Mark II. I’ve owned every L lens they’ve ever made. I’m also likely to be the only person that actually read the manual for each of those cameras. I’m a bit of a tech nerd and know all about pixel pitch, sensor size, lens flange distance, etc. I’ve photographed nearly 300 weddings and more than 500 portrait sessions in my career with those cameras. I can talk gear with the best of them and have an intimate knowledge of how these cameras perform in the field.
WHY THIS CAMERA?
I’ve spent months and countless hours researching and reading about all of the current used and new medium format camera systems. After weighing all the pros and cons of each system and factoring in how much I was willing to spend on this venture I found the Pentax 645D to be the clear choice for what I needed. It goes without saying that the image quality of any of these cameras is amazing. It’s true that some of the larger cameras offered higher resolution or an even bigger sensor, but the truth is that 40 megapixels is far more than I’ll really need for 90% of the work I’ll be doing. I’ve been just fine for years with cameras around 20 megapixels, so I’ll just have to find a way to live without those 60-80 megapixel cameras and make do with the 40 megapixels I have now.
So for now let’s consider image quality is basically a wash and focus on my two main reasons for choosing the Pentax over the worthy competition.
1.) Build quality and ruggedness. It’s not to say that those other cameras aren’t nice – they damn well better be for $20,000-$40,000. However, the Pentax is the only integrated camera that offers full weather sealing. All of the other medium format cameras feature sensor backs that contain the imaging chip in a removable enclosure that completely detaches from the camera. While this modular design allows you to upgrade you camera sensor in the future without purchasing an entire new body and viewfinder, in my opinion this creates a less durable and rigid design. The Pentax, however, is similar to any other DSLR where the camera and sensor are built as one unit. It may not matter in a controlled studio environment that many of those other cameras are used in, but I need a field camera that’s capable of some punishment without me having to worry about whether or not it is up to the task. I’ll do anything for a great image, including being neck deep in the water, braving a snow storm, or getting caught in a rainstorm. The Canon 1 Series cameras never failed, and I need to know that my next camera won’t either.
2.) The availability of excellent used and new lenses at reasonable prices. Pentax lenses may not be the world-class Carl Zeiss glass that some of the others are sporting, but Pentax has a reputation for producing some of the best medium format lenses for half a century. I’ll be shooting fixed-focal length prime lenses exclusively on the Pentax, and they’re certain to outperform any of their 35mm counterparts. The amazing thing about Pentax is that all of their legacy lenses will function perfectly. I’ve already got 15 year old manual focus lenses that will work on this camera, along with three of the current auto focus lenses. I recently purchased a new-in-box 75mm f2.8 auto focus lens for $175 with free shipping on eBay. The 80mm f2.8 Hasselblad is $2600. I think I’ll stick with the Pentax lenses…
There’s also the comfort level of a familiar form factor. The Hasselblad and Phase One are not nearly as similar to a high-end 35mm form factor as the Pentax. Some days you’re holding a camera for almost 8 hours – it’s important it feels good in the hands.
Less important, but still a factor that weighed on my mind was the overwhelming disdain people have for the LCD on the back of the Phase One and Hasselblad cameras. Most owners say that they’re worse than their first smart phone, and are barely able to review the images on the back. I’ve been shooting primarily with a 5 year old 1Ds Mark II with a 1.8″ LCD that was like trying to read a stamp in a dim room without my glasses on. I did just fine, but so much of my photography involves shooting with off-camera flash that if I’m spending over $10,000 for just once in my life I’d like a decent LCD to see where the lights are pointing! The Pentax delivers with a gorgeous 3″ display.
RANDOM THOUGHTS ABOUT THE CAMERA
1.) A majority of my work features off-camera flash. The Pentax has a maximum sync speed of just 1/125 of a second while the Canon bodies I used to shoot with could sync at least a full stop higher than that. I thought that might be a bit of a problem, but after reviewing work from the last 6 months I realized that nearly all of my stuff is shot at 1/125 of a second anyway, so it’s not going to be a big deal to me. It might be to you, though, so I thought I’d mention it. While shooting with the camera I also realized that because of the narrower depth of field at equivalent apertures on the larger sensor than 35mm allowed me to use higher f-stops to compensate for the slower sync speed while still benefiting from limited depth of field. Since I shoot with larger Einstein and Alienbees strobes instead of smaller hotshoe flashes the extra power needed is never an issue for me.
2.) Some shooters really are not crazy about this camera just taking SD cards. I too have a lot of money invested in CF cards with little resale value. Knowing that this camera can produce 100mb RAW files means I’m going to be spending an obnoxious amount of money on new cards. Now that I have the camera I have to admit that I enjoy using the SD cards because all of the MacBooks we have at the studio sport an SD card reader built in. It’s nice not to have to grab a card reader after every session.
3.) Overall Camera Speed. It’s a non-issue for me most of the time, but the camera is limited to 1 frame per second shooting. If you press the playback button it can take up to 5 seconds for the image to appear on the screen. However, the camera does feature an ‘instant review’ option that shows a non-zoomable instant preview of the last image you shot in under 2 seconds. I tend to use the rear LCD quite a bit when I’m dialing in the position and power of my off-camera lighting. I’ve found the instant review to be just fast enough to not leave me anxiously waiting. Still not as fast as the Canon’s I’m used to, but it gets the job done. I’m not sure what you could expect with a 70mb RAW file – it still seems like magic that it works at all!
4.) I have to say that I’ve found the camera a joy to shoot with and the RAW files it produces is truly mind-blowing. I’m still getting to know it, but it’s safe to say that I will never out-grow this camera. Handling is perfect, the body is rugged, the autofocus is fast and accurate, and the files are second to none.
Let me know if you have any questions in the comments and I’ll get you answers as quick as I can!
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After many hours of work I was so excited to hit the submit button and send the very first copy of my very first book to print. It was an agonizing week waiting for FedEx to carry it to my door, but it arrived today! I’m stunned at the quality of printing from blurb.com‘s books. It’s SO COOL to actually have a copy of the book I made. I’m very proud of it, and can’t wait to share it with more people. If you’re interested in learning more about the book, check it out here.
I wrote this to be the book I wish I’d had when I first started out in off-camera lighting. I hope you enjoy it too!
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The Pentax 645D arrived at our studio Tuesday afternoon just 2 short hours before our scheduled test shoot with our wonderful senior rep from Girard High School, Megan. I had just enough time to throw the battery on the charger and unbox the 150mm lens I won on eBay last week before we were off to run the camera through it’s paces. I had also bought a 45mm and 75mm lens on eBay several days ago and was itching to try them out. All of the lenses were used and in excellent shape, but I’d never had an opportunity to test them before the camera arrived.
I intend to do a more in-depth review of the camera soon, but I wanted to offer my first impressions. I spent a lot of time researching this camera before purchasing, but I found almost no information on people using it for portraits. That’s a shame, because this camera looks to be excellent in every respect necessary for the role. The blazing 1.1 frames per second shooting speed kind of rules it out for sports coverage, but it’s more than adequate for the portrait work I have planned for it. The first thing I noticed was how perfectly it fit in my hand. It’s a very solid camera, worthy of its price tag. I’ve become accustomed to the sturdy, confidence-inspiring build of the Canon 1-Series cameras over the years. The Pentax leaves nothing to be desired.
I detest being forced into menus to make important changes to cameras like focus points, drive mode, iso, and the like. The Pentax has a physical button or dial for every vital camera function. I very much approve of the layout as well – everything was within easy reach while shooting. Despite not having a chance to look over the manual before the session, I had no difficulty using the camera and making any adjustments while shooting.
Coming from a 1Ds Mark II and a 1D Mark III as my cameras of choice for the last 4 years, here’s my quick observations:
•The viewfinder is amazing. Very big and bright, even compared to full-frame 35mm cameras.
•The rear LCD is big and gorgeous. It’s by far the best I’ve seen on any camera. I would describe it as iPhone 4-like. It’s not quite a retina display, but is plenty sharp. When comparing it to my calibrated monitor the colors and dynamic range are extremely accurate.
•The cameras shutter release is soft and very quiet. Considering how much larger the mirror is than a 35mm camera, I expected it to be quite a bit louder.
•Regarding the mirror, I expected it to create a lot more vibration as well – making shooting at slower shutter speeds difficult or impossible. You can see in the sample images that I had no trouble getting sharp results hand-held at 1/60 of a second.
•My jaw dropped when I got the images loaded on the computer. There is SO MUCH FREAKING DETAIL in these files. The dynamic range is amazing as well. It holds great detail in the highlights and is shockingly good in the shadows as well. We shoot a lot of off-camera flash, and the transition from highlights to shadows is excellent. Check out the 100% views below:
•My whole reason for switching camera systems was to get that ‘look’ that medium format promised. I’m not disappointed at all. When compared to the raw files out of my 35mm Canon cameras there is a tangible difference between them. The combination of shallower depth of field, higher resolution, wider dynamic range, and top-quality prime lenses creates amazing images that are clearly a notch above what’s capable with smaller sensor cameras.
If I had to sum it up quickly, I’d have to say that I’m in love with the Pentax 645D. Switching camera systems is like dating a new woman. The buttons are all the same but they’re in a different place. It takes a while to get to know them. We’ve only had a couple of dates so far, but things are looking good. I think we’re in for a long and happy relationship.
I’ve got several more test sessions lined up to really get to know the camera inside and out, so you can check back for more images soon. I’m still working on my full review as well. I hope to have that ready in a week or so. Until then check out the images in this post. Enjoy!
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We’re very excited to announce our first book is available for purchase! It’s been a long time in the making, but we’ve finally compiled the book I wish I’d had when I started in photography. This guide is designed for the senior photographer looking for creative uses of off-camera lighting. In over 90 pages we present over 30 different lighting situations taken from real senior sessions we’ve photographed in the last year. We discuss the basic tools needed to accomplish the images in the book plus show you the camera settings, lenses, and lights we used to make each picture. Check out the sample pages above and click here to view and order our book online.
For a limited time, purchase this book and also receive $75 off our our off-camera lighting workshop. Click here for details!
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