Medium format has traditionally referred to a film format in still photography and the related cameras and equipment that use this film. Generally, the term applies to film and cameras used to produce images larger than the 24 by 36 mm of 135 film, but smaller than the 4”×5” size, which is considered to be large format.
In digital photography, medium format refers either to cameras adapted from medium format film photography uses, or to cameras making use of sensors larger than that of a 35 mm film frame. Often, medium format film cameras can be fitted with digital camera backs, converting them to digital cameras, but some of these digital backs, especially early models, use sensors smaller than a 35 mm film frame. As of 2006, medium format digital photography sensors were available in sizes of up to 36 by 48 mm, with 39 million pixels for use with commonly available professional medium format cameras. Sensors used in special applications such as spy satellites can be even larger, but are not necessarily described as medium format equipment.
In the film world, medium format has moved from being the most widely used film size (1890s through 1950s) to a niche used by many professionals and some amateur enthusiasts, but one which is still substantially more popular than large format. In digital, medium format is a very expensive option, with typical brand new all-digital medium format cameras retailing for $10,000 (Mamiya ZD) to $32,000 (Hasselblad H3D) in 2008, though, older and used equipment can be substantially cheaper.
While at one time or another a variety of medium format film sizes were produced, today the vast majority of medium format film is produced in the 6 cm 120 and 220 sizes. Other sizes are mainly produced for use in antique cameras, and many people assume 120/220 film when the term medium format is used.
The general rule with consumer cameras — as opposed to specialized industrial, scientific, and military equipment — is the more cameras sold, the more sophisticated the automation features available. Medium format cameras made since the 1950s are generally less automated than smaller cameras made at the same time, having high image quality as their primary advantage. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera.
Characteristics
The main benefit of medium format photography is that, because of the larger size of the film or digital sensor (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats.
Compared to 35 mm, the main drawbacks are accessibility and price. While 35-mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive, especially for digital medium format cameras.
Film handling
Medium format film is usually roll film, typically allowing eight to 32 exposures on one roll of film before reloading is needed. This is less convenient than 35 mm cartridges, which typically take 24–36 pictures on one roll. This is somewhat offset by the fact that most medium format systems used interchangeable film magazines, thereby allowing users to switch rolls quickly, allowing them larger numbers of exposures before needing to load new film, or to change film type. Some companies had bulk film backs that used 70mm double-perforated that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use was specialized, typically for aerial cameras installed in military aircraft or printing industry equipment.
Most large format film is sheet film, that is, film where each picture is on a separate piece of film, requiring that the camera be frequently reloaded, usually after every picture, sometimes using magazines of up to five pictures or reduction backs that allow multiple pictures on a single sheet of film. Medium format sheet film was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never commonly used in cameras smaller than medium format.
Film cost per exposure is directly related to the amount of film used, thus, the larger the film size, the more expensive each picture will be. An 8"×10" large format negative is far more expensive than a 6×6 cm medium format picture, which is substantially more expensive than a frame of 35 mm film.
35 mm cartridges are generally easier to load and unload from a camera than medium format rolls. A 35 mm cartridge is placed inside a camera, and in most motorized cameras this is all that is needed; the camera loads the film, and rewinds it into the cartridge for removal. Far fewer medium format cameras are motorized, and medium format roll film does not have sprocket holes, so loading often requires that marking on the backing paper of the film be lined up with markings on the camera, and on unloading, the backing paper must be carefully secured to protect the film from light.
120 and 220
Main article: 120 filmAll medium-format cameras mass produced today (as of 2008) use the 120 film format. Many also can use the 220 film format, which is twice as long and hence allows twice the number of exposures. 120 and 220 film is still almost as available as 35 mm from specialist shops.
This film is shot in a variety of aspect ratios, which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square) and 6×4.5 cm (rectangular). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic. The 6×4.5 cm format is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium format models is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure.
70 mm film
For some professional medium format cameras, those used in school portraiture for example, long-roll film magazines were available. Most of these accommodated rolls of film that were 100 ft (30.5 m) long and 70 mm wide, sometimes with perforations, sometimes without. Some cameras, such as the Hasselblad, could be equipped with film magazines holding 15 foot rolls of double perforated 70mm film passed between two cassettes. 70 mm was a standard roll film width for many decades, last used as late as the 1960's for 116 and 616 size roll films. It was also used for aerial photomapping, and it is still used by large format cinema systems such as IMAX.
System cameras
Many professional medium format cameras are system cameras, which means that they have various interchangeable parts. Like most 35 mm SLRs, these cameras usually support different lenses, but in addition it is also standard for medium-format system cameras to support different winding mechanisms, viewfinders, and camera backs. This flexibility is one of the primary advantages of medium format photography.
Digital medium format
Digital photography came to the medium format world with the development of digital camera backs, which can be fitted to many system cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting a camera into a digital camera. These backs are used predominantly by professional photographers. As with film, due to the increased size of the imaging chip (up to twice that of a 35 mm film frame, and thus as much as 40 times the size of the chip in a typical pocket point-and-shoot camera) they deliver more pixels than consumer-grade cameras, and have lower noise. Features like fan cooling also improve the image quality of studio models.
This market began in 1992 when Leaf Systems Inc. released their first digital camera back, named, fittingly enough, the "DCB" (often described as 'a brick'). Initially mounted on Sinar Studio cameras, the camera backs were later moved to medium format units. By the late 1990s, a number of companies produced digital camera backs of various types.
In the 2000s, the number of vendors of both high-end medium format camera systems and digital backs began to decrease. The power of digital SLRs cut into the sale of film-based medium format systems, while the tremendous development expenses for medium format digital systems meant that not all vendors could profitably compete. Contax and Bronica ceased production of cameras, Kod
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