Awesome, thanks!
From what I see on my laptop screen it seems that somewhere close to 10mm might be the limit if colour depth is important, do you think?
I think a 10mm shift would be my limit if the files required purist scrutiny, which is not how I shoot these days.
As Anders has said above, tests indicate that the colours clean up nicely with larger movements but perhaps at the expense of saturation, etc? What are your feelings, Darr?
I think anytime we need to add or subtract color/light, there is a price to pay for it in the chain somewhere if you look for it. But as Anders points out,
it becomes subject dependent.
I'm torn. The more frugal side of my brain tells me that this back, even at the higher price of $15.5K USD is a great option and would suit me well, going to 400ISO and especially with live view on back.
There is nothing wrong with being frugal! When I first read about the IQ250, I saw its potential in my work, but felt it was overpriced and soon realized the Sony sensor was the heart of the unit. I then hoped another manufacturer would use the same sensor in their digital back and bring fair competition to the table. I, like many others have felt MFD has been controlled by an oligopoly market structure, dominated by a small number of sellers and manufacturers which naturally reduced the competition and lead to higher prices, so I was delighted when Hasselblad developed the 50c. I actually paid $12k for the back (+$50 shipping), so I am grateful that Hasselblad has IMO made a bold and much needed market uproar with the 50c. I do not see how the MFD market can expect consumers to pay $35k+ for the IQ250, and believe in due time MFD will become more affordable.
The practical side of my brain tells me that I'd be better served investing in a used H4/5D-50 – as Anders has – so I have the option of using a modern SLR solution when I need it. If I go this way, I have better performance on larger movements and the extra camera platform, but only really 100ISO and must put up with the ground glass on my Techno...
Decisions, decisions...
My priorities for the 50c purchase was for Live View (LV) and higher ISO, not extreme movements. If you get the chance to try the LV out, it may change your mind for you. My current projects require me to be on location, and to shoot in a reportage-type style, but with a tripod if necessary. After using the 50c with my tech camera, I told myself this back just needs to be attached to a camera body and never come off, so I recently placed an order for an ALPA TC. I believe in the possibilities of the LV and the CMOS files. Now, I am not using this back to its full potential yet. One link in the chain that is missing is me being able to use Phocus for its full potential. I have not had the time to devote to it, and I know I am missing something not using it.
Decisions, decisions... FWIW: I am a business woman first, an artist second and a technician after that. I asked myself after I first read about the IQ250 and thought I may be looking at acquiring one: Of all the digital file types I have used and manipulated (CMOS, CCD, Foveon), which digital files came out of my camera the prettiest (the artist)? I was quick to say my D700 files, but surprised because SLR-type cameras are my least favorite (the technician). I probably sold the least used D700 in history, and I regret it every time I look at my D700 files, but knew it had to go from lack of use (the business woman). So maybe you can ask yourself those types of questions and find where the scales need to be balanced.
Kind regards,
Darr