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The Great Pano Bake-off

in Scanning , Monday, July 31, 2017

Having now added a Linhof 612 to my arsenal of wide-screen photographic tools, the time has come for a showdown. Which, if any, is the best? 

The candidates are, then:

  • Linhof 612 Medium Format film camera
  • Hasselblad XPan 35mm film camera
  • Sigma dp0 Quattro digital camera with Foveon sensor, 21:9 frame ratio

Now, you may say that I could substitute any digital camera for the dp0, and “just crop”. Well, you could, but I can’t, because accurate composition through the viewfinder is important to me. The dp0 comes close to the XPan with its wider lenses, but as far as I know all Sigma Quattro cameras, so dp0, dp1, dp2, dp3, sd and sd-H offer a 21:9 crop. I don’t know of any other cameras which do.

I’ve compared the dp0 with the XPan in the past, and concluded that the Sigma is certainly a valid contender for the title of “digital XPan”. Indeed, it replaced the XPan in my camera bag on my last trips to Iceland and Antarctica. But the Linhof, surely, with its huge frame size, should come out of top ?

For the film cameras of course we have another factor in the equation: the scanner. I’m pretty sure that the OpticFilm 120 at 5300dpi extracts at least 90% of the potential resolution from the exposed film, but I’m not fully convinced that it reaches 100%. Possibly a drum scanner or a Hasselblad Flextight could do marginally better, but if it takes a €15000+ scanner to outdo a €900 Sigma camera, then we’d be be getting into the realms of insanity.

Of course, the relative file sizes are a bit scary.  But I’ve got lots of disk space.

  • Linhof: 24533 x 11245 pixels, 1.5Gb
  • XPan: 13516 x 4986 pixels, 395Mb
  • Sigma: 5424 x 2328 pixels, 73Mb

For the test, I trudged up (and down) to a local valley stream, set up the tripod, and shot frames from each camera. The scene was initially framed using the Linhof. The Linhof was loaded with Fuji Provia 100F, and had the 65mm lens mounted. The XPan, sadly, was loaded with Rollei Variochrome, set at ISO 200, in a parallel test described previously. I shot XPan frames with both the 45mm and 30mm lenses.  The Sigma of course had its fixed 14mm lens, which is roughly equivalent to 21mm for so-called “full frame”.

I was interested in two aspects: the different frame coverage, and the comparative resolution of each system. Colour was not really relevant in this particular exercise, although the differences are interesting.  But anyway I haven’t even attempted to try to match colour.

So, here are the “results”.  First, the comparative frame coverage.

panocompare_fullwidth

Clockwise from top left: Sigma dp0, Linhof 612 65mm, XPan 45mm, XPan 30mm.

It’s difficult, but please ignore the horrendous colour of the XPan frames. The scans are all “flat” from Silverfast - I have not attempted any kind of colour correction. The first thing that jumps out for me is how close the Sigma and Linhof are. I could get even closer by shooting a 2:3 frame on the Sigma and cropping it. The Linhof is just a touch wider. The XPan 30mm is the widest of all, and its vertical coverage is very similar to the Linhof. The XPan 45mm, in this company, and for this scene, is a bit neither here nor there.

Note, any attempt at choosing a “favourite” shot here is rather pointless. As I said above, the shot was framed for the Linhof, with the tripod remaining fixed for the other three, so I would expect (and indeed hope) to prefer the Linhof composition.

Working with the Linhof over the past month or so has confirmed my attachment to the (almost) 2:1 ratio. The Sigma ratio is actually closer than I expected, because the actual size of the exposed film on the Linhof is 12 x 5.5, so somewhat wider than a nominal 2:1. The Linhof has just one trick up its sleeve, but its a good one: the 8mm shift is hugely useful for this kind of shot. Note the difference between the Linhof and XPan 30mm frames: thanks to the shift (negative in this case), I’m able to put the extra vertical coverage to better use, without tilting up or down and hence distorting the perspective.  This limitation has always frustrated me with the XPan.

Now for resolution. Remember, with the Sigma, it being a digital camera with a Foveon 3 layer sensor, we can magnify up to 100% and expect sharp results.  With the film cameras it is way more complicated.  We need to factor in focussing (hyperfocal in this case), film flatness, film curl when scanning, scanner lens quality, scanner depth of field, and all the general characteristics of an analog to digital conversion.  Suffice it to say, film looks best on the light table, and goes downhill from then onwards. All we can do is damage limitation.

Having said all that, let’s look at a 100% section of each shot:

panocompare_100

100%: clockwise from top left: Sigma dp0, XPan 30mm, Linhof 612 65mm, XPan 45mm

In terms of numeric resolution, the Linhof clearly wins, but the level of actual information is debatable. There has been no sharpening applied here, so for the film shots what you see is what you get out of the scanner. What does appear to be the case is that the XPan lenses are actually sharper than the Schneider 65mm lens on the Linhof. One thing I’m finding with the Linhof is that objects at infinity seem to be quite soft, regardless of the focussing. I have no idea why this should be, but since focussing is by scale only, it isn’t straightforward to verify. Again, there are a lot of variables in the system.

Another way to compare is to try to adjust zoom to get roughly the same field of view, as follows.  Since the Sigma has the lowest nominal resolution, it defines the baseline.

panocompare_match

Matched view: clockwise from top left: Sigma dp0, XPan 30mm, Linhof 612 65mm, XPan 45mm

Now there’s not so much in it. The XPan with 45mm trails slightly, at least in this example, but otherwise the level of detail is close. Probably if the XPan had been loaded with Provia 100F then the difference would be smaller. With the Sigma there is a higher level of micro-contrast and acuity, but appropriate processing of the film images can close the gap.

Note, when printing these images at the maximum size I can achieve on my A2 printer, in all cases there is quite sufficient resolution, so this exercise in pixel peeping should be taken with several grains of salt.

However, the clear conclusion is so far that the Sigma dp0, which is more practical, lighter, considerably less expensive and offers immediate feedback, is pretty much a match for either of the film cameras on a technical level. To be honest it is probably the best of the three, in purely technical terms, and in the right conditions.

Let’s briefly compare the dp0 just with the Linhof:

panocompare_dp0_linhof

Top: Sigma dp0, Bottom: Linhof 612 65mm

The Sigma definitely seems to give slightly more real resolution, although there is a hint of some variation across the frame from the Linhof. But in the best case scenario, the Linhof / Plustek OpticFilm 120 combination is a match for the Sigma dp0 in terms of effective resolution - no more.

So why use the Linhof, and why use film at all? Well, all is not rosy in the Sigma world. Although it is not too apparent in this frame, it transitions to over-exposures in a very harsh and unpleasant way. With scenes featuring flowing water, for example, you need to be extremely careful with exposure.  And since the Sigma’s output is nowhere near as malleable as that of almost all other modern digital cameras, you have to very careful indeed. Actually it is this poor handling of highlights which makes more hesitate about investing in the Sigma sd Quattro system.

Of course, you also have to be careful with slide film, but even slide film with its aversion to highlight overexposure handles transition to burn-out much more naturally.  The Linhof also features one of the absolute best viewfinders ever made. If in-the-field composition is important to you, as opposed to fix-it-in-Photoshop, then this is a big deal.  And finally, the killer feature, the “permanent shift” lens, which avoids the Achilles’ Heel of panoramic photography, vertical entering of compositions.

And what about the poor old XPan? Well, it too has its advantages. First, the 30mm lens gives a wider field of view than either of the other two (although a Linhof 612PCII with 58mm lens would be wider).  The XPan also has a rangefinder, making manual focus very simple, and very reliable auto exposure.  And it is a quarter of the size of the Linhof 612. I’ve been using it for 17 years, and it’s not for sale. Yet.

And finally colour - although I like the colour output of the Sigma, it can be a little weird. Actually in the example here I used a custom colour profile in Lightroom. The rendition of Provia 100F, once the blue shadow cast is removed, is to my eyes more natural.  There is also something ever so slightly sterile about the Sigma output.

But finally, all three are great cameras which give me a lot of satisfaction.  If I was pushed to produce something on a tight deadline, if the subject permitted it I’d probably use the Sigma.  If I wanted the best control of composition I’d use the Linhof, with Provia 100F for landscape or Portrait 400 for urban work.  For maximum flexibility and discretion, the XPan.  In all three cases, I’d be able to print as large as I am able to with no compromises.

But I would love to see a drum scan of a Linhof 612 shot…

 

Posted in category "Scanning" on Monday, July 31, 2017 at 11:16 AM

Sigma DP0 Firmware 2.0

in Sigma , Tuesday, May 02, 2017

The recent very welcome and generous firmware update (2.0.1) for Sigma’s DP Quattro cameras has added several new dimensions to working with the output. The update brings two major new features:

  • DNG Output
  • SFD (Super Fine Definition mode)

Of the two, DNG is probably the most significant: it means that it is no longer necessary to use Sigma Photo Pro to process raw images.  They can now be opened directly in various DNG compatible applications. I’ve tried Adobe Lightroom, Photoshop, Photo Mechanic, Alien Skin Exposure, Iridient Developer. They all work fine. This is a huge boost to workflow, and opens up Sigma Quattro cameras to all those put off by having to use Sigma Photo Pro (which, by the way, is actually nowhere as awful as the internet echo chamber would have you believe).

On top of this, you can now use software such as XRite ColorChecker to create customer camera profiles to use in compatible applications.

SFD is a bit more esoteric. SFD mode combines 7 standard frames automatically shot at different exposures to obtain a single file with extended shadow and highlight detail, and lower noise. Basically an auto-HDR, but thankfully without the kitsch. Unlike, say, Olympus in-camera HDR, here all individual frames are saved as RAW and can be selected, discarded, or individually edited in Sigma Photo Pro, if you wish to go too that level of detail (no DNG here).  I’d read some pretty negative opinions of SFD from Sigma SD Quattro owners, so I was curious but not all that excited.

So, yesterday evening I went out to grab a few shows to try all this stuff out. Please note this was just a “kick the tyres” sort of thing, in a context of taking photos that I might actually be interested in, not “testing”, taking a million shots of the pot plant, brick wall, or cat nearest to the couch.

DNG output

The addition of DNG output makes a huge potential difference to workflow enhancement. The question is, what, if anything, are we losing? There are a lot of drawbacks to using Sigma Foveon cameras, but there are also two big plusses, resolution, and colour character. Compromising on either of those arguably makes using the cameras pointless. So, using a frame which is not far off a torture test, with deep shadow and bright highlights, not to mention abundant, potentially troublesome green tones, let’s dive in.

I’ve taken two identical shots, one recorded to X3F file, and the other to DNG. I have processed the X3F file in Sigma Photo Pro (SPP) using “Auto” settings - I don’t usually use Auto, but here it seemed to make sense, as I assume something similar must happen internally in-camera to create RGB data for the DNG file. I’ve opened the DNG file in Lightroom, on default settings, but changed the camera profile to Standard to match SPP. Here are the full frames, compared in Lightroom Library module.

Sd0 dng compare 1

X3F on the left, DNG on the right

Ok, you’re not going to be able to tell much from these, but the idea is to get an overall feel. The colour in the DNG file seems a little muted compared to the X3F. We’ll look at that a bit later.

The top left corner of the shot is a bit troublesome - again, we’ll look at this when discussing the SFD mode, but let’s see how X3F and DNG compare.

Dp0 compare dng tl

Top left crop, DNG version

Dp0 compare x3f tl

Top left crop, X3F version

Well, there are some minor differences, but nothing I’d personally lose sleep over. What gets interesting is looking at the potential for colour calibration.  Using the XRite Colorchecker Passport, a made a quick Lightroom profile for the SD0.

Sd0 dng colour profile

Left, custom profile, right, Sigma standard

The difference there is quite clear. I’m not yet entirely sure I prefer the custom profile version, but I think it is probably more accurate. Personally I actually like the somewhat muted saturation that the Sigma standard profile gives, but well, it’s certainly opening up a whole new dimension. It will be interesting to compare a Sigma custom profiled shot of an identical scene shot with another camera.

Lightroom actually has all the built-in SPP colour modes as profiles under calibration. I assume these come in with the DNG. If Adobe had actually put some effort into actively supporting Sigma Quattro cameras, I think we’d have heard about it.

As I said above, I’m not all that unenthusiastic about SPP, but even so, there are a lot of good arguments for using DNG, and so far, I don’t see any significant drawbacks. The out of camera DNGs are huge - about 110Mb to the 60-ish Mb of a corresponding X3F, but apparently running them through Adobe DNG converter shrinks them with no adverse side effects. I haven’t tried it yet.

SFD Mode

A couple of shots here demonstrate the usefulness of SFD mode. Unfortunately I was in a bit of a hurry, and the location I was shooting from was a bit precarious, so I wasn’t very careful about details and the non-SFD version is shot a f/4.5, so the background is not sharp.  Note that this sort of shot, where there is moving water, is not supposed to work in SFD mode.  I found it to work fairly well. The significant thing here is the highlights, in the patches of bright water. The SFD mode has yielded a lot more highlight detail.

DP0Q0671 x3i 2 full

Full scene, SFD mode

Now, two close ups of the two modes.

Drm SIGMA dp0 Quattro DP0Q0669

Close up, standard mode (auto exposure)

DP0Q0671 x3i crop

Close up, SFD mode

Note, the white balance is different in SFD mode. It was actually much cooler, but I made a rough adjustment in Photoshop. The differences in sharpness are irrelevant, as mentioned above, they are down to to wide an aperture on the non-SFD shot. However, what is significant is the extra detail in the bright water patches in the SFD shot. In the non-SFD shot they are completely blown.  Also, note, from this example, the SFD rendering of blurred water is comparable to the non-SFD. However, at the edge of the full frame, there was some minor leaf movement, and there artefacts do show up. Sometimes they will be acceptable, sometimes not. Indeed, I took a different SFD shot with moving water, and in that case some of the patterns were a bit weird.  But it looks like it could be useful, in some situations.

Note, I didn’t encounter any of the processing time nightmares broadcast on the forums. On my computer, Sigma Photo Pro 6.5.3 took under 2 minutes to process an SFD set (.XFI file). That seems reasonable to me.

A second example was aimed more at shadow detail. The full frame is below (in this case I was more interested in shadow detail).

Drm SIGMA dp0 Quattro DP0Q0658

Looking in detail at the debris in shadow in the lower left:

Drm SIGMA dp0 Quattro DP0Q0658 crop

Close up, standard mode (auto exposure)

DP0Q0659 X3i crop

Close up, SFD mode

I would say that is pretty conclusive.

However, the highlights (sky patches, top left) are blown in both cases. The sky was completely overcast, so that is fine, however the loss of detail in the foliage isn’t so impressive. Here the SFD version does a better job, but neither is brilliant. An extreme case, maybe, but also just one of the Foveon sensor’s weak points.

Drm SIGMA dp0 Quattro DP0Q0658 tr2

Close up, top left, standard mode (auto exposure)

DP0Q0659 X3i tl

Close up, top left, SFD mode

I’m not sure how much I might end up using SFD mode. I would imagine it is more generally useful for static subjects in controlled, indoor conditions, but from this very brief trial, it does seem more useful for outdoors photography than I expected. Anyway, I’m certainly not going to complain.

Thanks very much to Sigma for this update - they don’t really get a lot of publicity, but I doubt there is a company today more dedicated to making great photography equipment at reasonable prices. And they just keep improving.

 

 

Posted in category "Sigma" on Tuesday, May 02, 2017 at 08:39 PM

New Panoramics

in Photography , Wednesday, August 17, 2016

Wide format, or "panoramic" photography for me has been synonymous with film and my Hasselblad XPan, since the turn of the century. Well, it seems, no more. On my recent trip to Iceland, for the first time, it stayed at home, and its usurper, the Sigma DP0, came instead. And I really enjoyed using it. You'll find all sorts of opinions and views all over the darker corners of the photo-net droning on about how awful it is, but I ignored all that stuff and just used it. Once you get into the groove, it's really fun to use. The weird shape makes total sense when holding it, and it's a great conversation starter (if you like conversations that start with "what the hell is that!?").

These little renditions below don't really do justice to the jaw-dropping impact of the detail and delicacy seen on a print or big screen, but they go somewhere, I hope, to explaining why the unconventional approach and, er, idiosyncratic software is worth the trouble. Speaking of which, maybe I'm just lucky, but unlike for certain well known pundits, Sigma's PhotoPro software is 100% rock solid for me. I can't remember the last time it crashed, if ever.

But anyway, it's all about the photos, not the gadgetry, and I'm pretty happy with this set.


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So... anybody want to buy an XPan ?
Posted in category "Photography" on Wednesday, August 17, 2016 at 09:10 PM

Eccentric or More Eccentric ?

in GAS , Thursday, May 19, 2016

I’m still trying to convince myself I don’t want a Linhof 612, even though I have my eye on a very nice looking one which I can almost afford.

The thing is, it’s a purely mechanical camera. There is no preview of focussing. No metering. It’s just a (extremely high precision-engineered) box with a (breathtakingly gorgeous) lens on the front. It’s heavy, a pain to use, and has this intriguing but rather eccentric 8mm fixed shift.

And I have a Sigma Dp0, which is not only a pain to use, looks plain weird, and draws attention like bears to honey.  But it has auto focus, a screen (just about), and doesn’t need the film processing or scanning steps - albeit it does need Sigma Photo Pro, which rather evens the score.  And it has a (breathtakingly gorgeous) lens on the front.

This is what the Dp0 can do:

drm__20160507_DP0Q0317.jpg

Not bad - almost Ektachrome-like.  The ratio here is 21:9, which is actually shown on the screen, allowing exact composition. Of course you can crop any image any way you want, but that doesn’t work for me.  I need to see what I’m doing, and I need my composition to be preserved in the file. The Dp0 / Sigma Photo Pro combination does both.

If I’d shot this with a Linhof, I’d probably have framed it like this (although the lens field of view would be a little different, but I think the Dp0 17mm lens corresponds roughly to a Linhof 58mm)

drm__20160507_DP0Q0317-2.jpg

Of course, had I shot it on a Linhof I’d probably have got the exposure and the focussing wrong. And then Silverfast and / or my scanner would have crashed trying to deal with the huge file.

Common sense says Sigma - and given how unlikely that sounds, in the general scheme of things, it says all I really need to know about the sense of buying a Linhof 612 in 2016…

Posted in category "GAS" on Thursday, May 19, 2016 at 08:38 PM

The Digital XPan, by Sigma

in Sigma , Wednesday, March 09, 2016

I bought my first Hasselblad XPan in 2000, and in the following 15+ years, I’ve accumulated a large shelf full of binders of negatives and (mainly) slides. I bought it because I liked the widescreen format, and I still do. Although a niche camera, the XPan was pretty popular, initially principally with landscape photographers, many of whom used one alongside an SLR. For me, it was the other way around - the SLR was the “second camera”. The XPan started to fade from view with the advent of DSLRs, and Hasselblad/Fuji stopped producing it in 2006, citing some story about a circuit board not being compliant with some convenient European regulations on lead content.

In recent years it has seen something of a revival, and secondhand prices for good copies have risen higher than the original retail. It seems to be riding a lot on the “back to film” movement, and the accompanying mystique. But there do not seem to be many people around who, like me, bought one back near the release date and never stopped using it.  And even fewer people who shoot slide film (still). It seems to be quite popular nowadays for “street” photography, where the unusual frame gives a novelty effect that compensates for many a shortcoming in the photograph. However, with the lenses having a maximum aperture of f/4, and rangefinder focusing, I’m not personally convinced it is that ideal for street. But I’m no authority on the matter.

For me the biggest frustration with the XPan has nothing directly to do with the camera, but with the rapidly shrinking availability of slide film.  My favourites, Kodak E100G and Fuji Velvia 100F (nothing like the infamous Velvia 50 by the way) have long since departed, Fuji Provia 400X is more or less gone, and the only serious choice left is Fuji Provia 100F, which I never much liked. The revival of Ferrania Film is, so far, inconclusive - initial batches of new film are close to a year overdue. Of course the choices in negative film are a little wider. I like Kodak Porta 400, but it only really suits brightly lit urban scenes. Kodak Ektar 100 is ghastly. And I’m a colour photographer by instinct, not black & white. On top of all of this, the bottom has fallen out of both semi-pro E6 processing, and of the semi-pro film scanner market.  So not only is the writing on the wall, but it’s on every wall in every direction.

So, there’s been a lot of calls, directed mainly at Fuji and Hasselblad, to produce a “Digital XPan”. There’s a snag there, though, because a digital sensor covering the full 65x24 XPan format - two “full frame” sensors side by side -  would be horrendously expensive, even though this seems to be what people want. So the question arises, what do we actually mean by “Digital XPan” ? What are the key features ? Would everybody agree? The answer to the last question is obviously a resounding “no”.

The key features of the XPan, technical and otherwise, are:

  • Native “panoramic” double-frame format
  • On-the-fly selectable standard 35mm frame format
  • Rangefinder manual focussing
  • TTL electronic metering
  • Offbeat, unusual camera
  • Built like a tank
  • Interchangeable lenses
  • Very high quality - and expensive - glass
  • Oh yeah… film

Personally, the key feature is the first: a camera which records what-you-see-is-what-you-get panoramic format with a dedicated panoramic viewfinder. In-camera composition is very important to my way of doing and enjoying photography, and for me cropping in Photoshop as some kind of afterthought rarely produces a strong, satisfying image. I emphasise, for me: clearly other people have different opinions. As for film, I’ll fall back again on a quote from one of my heroes of panoramic photography, Stuart Klipper, who when asked why he (still) uses film, replied “because that’s what the Linhof takes”.

So, yes, you can certainly obtain a panoramic frame from any digital camera through post-processing. Many compact cameras also have a 16:9 framing option which you can squint at while holding the camera at arms length in front of your face. But this is simply not the “XPan experience” for me. It doesn’t inspire me, and it doesn’t give me the thrill that seeing the world through the XPan rangefinder does.

And that’s a good time to introduce you to the other camera on the stage here, the Sigma DP0.

P3091492

Sigma DP0 with viewfinder, and Hasselblad XPan

I’ve been using Sigma cameras with their unique Foveon sensor since the 50mm-equivalent DP2 Merrill. As I, and many others have written, when these cameras get their ducks in a row, they are truly fabulous. The rest of the time they’re a disaster area. A while back, Sigma introduced a new lineup, using the revised Quattro sensor. They also introduced what would be politely described as an unusual body design. A lot of people were aghast at this. I thought it was fantastic. But I didn’t buy one at the time, as the DP2M & DP3M I already owned were quite enough.  But then came the announcement of the DP0 ultra wide (21mm equivalent), and buried deep down in the specification, the 21:9 framing option. It seemed that somebody in Japan was thinking along the same lines as me.

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The DP0 21:9 aspect ratio

So eventually, after a lot of indecision, I got one, along with the hood viewfinder attachment which allows eye-level composition, which as I have said is a must-have for me, and has the additional benefit of making an already strange looking device look downright weird. It’s certainly a conversation starter.

The 21:9 aspect ratio is a bit deeper than the XPan. It is about halfway between the standard 6x12 and 6x17 ratios - the XPan is slightly taller than 6x17. This is actually fine by me. I often found the XPan format a smidgen too wide, and I’ve always pined for a 612 camera. The resolution of the 21:9 DP0 image (5424 x 2324) is approximately half that of an XPan frame scanned at 4000dpi (around 12200 x 4700), but of course the two are not directly comparable. The actual information content is very similar. Of course, the DP0 has a fixed lens, whereas the XPan has three native lenses to choose from (as well as some other fairly dodgy choices via adaptor). The DP0’s 21mm equivalent lens gives a field of view roughly equivalent to the XPan 45mm lens. And they’re both f/4. And both extremely good quality lenses.

Anyway, that’s an awful lot of babble before getting on to the core of the matter: how do they actually compare ? Well, I don’t do “tests” as such, I really cannot be bothered. But recently I took the DP0 to make a few photos in the nearby Golle della Breggia, in a location I remembered shooting with the XPan a few years back.

xpan_ticino11_03_1_09.jpg

XPan, 45mm lens, Kodak E100G, scanned on Minolta Dimage Scan Multi Pro

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Sigma DP0, processed in Sigma Photo Pro v6.3.2

Of course, these photos are taken at different times of the year, different times of the day, and with different framing, never mind with completely different technology. The only common factor was the photographer. Given that, to my eyes at least they have a quite remarkably similar rendering of colour and tonality. The Minolta scanner, which I have now replaced, also developed a tendency to exaggerate red in the midtowns, which I clearly did not sufficiently correct here. I could certainly get the two photos to look very close in rendition with a few minutes work, but that isn’t the point: what I’m looking to decide is if the DP0 can assume the role of the XPan for me, and I’m tending to believe it can, so far.

It is also interesting to compare resolution. Here again, there is a degree of subjectivity, as the scan is not necessarily optimum, and here no sharpening has been applied (although Sigma Photo Pro allegedly always applies some sharpening). I’ve tried to match two roughly similar areas of the photos, with the DP0 crop at 1:1, and the XPan reduced more or less to match.

DP0

Sigma DP0

XPAN

XPan

So, very, very subjective, but it does look like the Sigma’s Quattro sensor is a match for 4000dpi scanned 35mm Kodak E100G. Not actually a big surprise, although it is probable that with a bit of work I could extract a little more detail from the film.

The XPan still has at least two advantages - the 30mm and 90mm lenses. But in terms of overall end to end user experience, there is a remarkable similarity between the two cameras. Indeed, it can be as time consuming to extract a processed file from Sigma Photo Pro as it is to make a good film scan…

One are where the DP0 wins outright, however, is low light photography. You can do long exposures on film, but dealing with reciprocity failure is painful, especially with slide film. The DP0, on the other hand, will cheerfully make an exposure up to 30 seconds (but no more, let’s not carried away here).  Also, I really like the way the Foveon sensors (both Merrill and Quattro) render tungsten lighting. So to wrap up here are a few shots from my first major outing with the DP0 in Venice.

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It is tempting to draw a conclusion from the fact that since I’ve owned the DP0, the XPan has sat on the shelf. But it is early days yet, and there haven’t really been many opportunities to use it recently. I certainly wasn’t going to take it to Colombia. There are also some situations in which I don’t really trust the Sigmas, in particular snow and ice.  And although the Quattro has much better battery life than the Merrill, it’s still pushing it to reach 100 shots.  Then again, processing 100 shots in Sigma Photo Pro takes roughly a decade, so perhaps it’s just as well.

But I’ll repeat what I’ve said before: the Sigma DP0, with the LCD viewfinder, set at 21:9, is the closest digital camera I’ve found so far in terms of handling and user experience to the Hasselblad XPan. And it’s a great camera in its own right, fun to use and with devastatingly high quality output.

 

 

Posted in category "Sigma" on Wednesday, March 09, 2016 at 12:23 PM

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