Technical Specs of the Cambo Wide DS

• 8.5 x 8.5 x 5.0 in., 4.2 lbs w/ 35mm lens
• Lateral Shift +/- 20mm
• Rise: 34mm, Fall: 26mm
• Quick lens-plate lock
• 1 mm markings for rise/fall/shift
• Vertical & Horizontal Bubble Levels
• Rosewood Handle

Lens Projection Circles

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Perspective Control Built Into the Body

Instead of relying on a tilt-shift lens, tech cameras incorporate rise/fall/shift into the body itself. This means all of the compatible lenses can be used as shift lenses. Why limit yourself to one focal length shift lens when you can shift with a 24mm, 28mm, 35mm, 47mm, and 72mm?

High Dynamic Range

When you need to push extra detail from the shadows or pull in detail from highlights nothing compares to using a Phase One Digital Back and Capture One 4.0. The specifically engineered software couple with the large sensor and top quality components raises the bar of single-shot dynamic range.

Repurpose Crops of a Wider Image

1/5th of a P45+ file will produce an 8.5″x11″ at 300dpi. Notice a nice detail in an image only after you’re done shooting? A Phase One back will let you crop in and still come out with a gorgeous high resolution file.

Long Exposures

The longest exposure limit of a Phase One Digital Back is measured in hours. Star trails? Nightscapes? Day long artic-sun exposures? Release the creative ideas you thought were impossible. More information.

Fine Detail Rendition

Phase One Back doesn’t use an Anti-Aliasing filter in front of the sensor, which means sharper images prior to software sharpening. A technical explanation of AA filters can be found here and here, but in simple terms AA filters blur the image; a compromise made for general-purpose cameras. If you’ve never shot a medium format back you’ll be blown away by how sharp the image is at 100% even without software sharpening.

Mammoth Print Size

By stitching three slightly overlapping P45+ images, you could obtain a 100 megapixel image that can be printed 70″x36″ at 200 dpi. Best yet, every one of those 100,000,000 pixels will have the incredible color, dynamic range, and subtle detail that only a medium format digital back can provide. That’s a 14-foot-wide print that looks as clean up close as it does from far away.

Chromatic Aberration

Wide angle lenses designed for a system with a viewfinder mirror requires an optical compromise known as retrofocus design. By eliminating this compromise lens designers are able to produce higher quality lenses at wider focal lengths. The result can be found in lenses such as the tremendously sharp, low-distortion, ultra-low chromatic aberration 24mm Schneider Digitar XL lens which is the equivalent of 17mm lens on a full frame dSLR.

Angle Sensor

An angle sensor is built into every Phase One Digital Back. When shooting tethered, Live Focus shows a real time read-out of the back’s angle to the nearest tenth of a degree. That means every shot you take can be perfectly level. No post production rotation means less work for you, and higher image detail and sharpness.