Welcome to my website. This is the story of my journey with medium format. I hope the information serves you well.
Self portrait taken with the Pentax SMC 105mm f2.8
What is Medium Format?
Medium format photography uses film or digital sensors larger than 35mm but smaller than 4×5 large format. Whether you shoot 120 roll film on a classic Hasselblad or Pentax 67, or use a modern Fujifilm GFX digital system, the larger capture area delivers more detail, smoother tonal gradations, and a distinctive depth that smaller formats can’t match.
This site covers the full range of medium format photography — from camera reviews and film stock comparisons to home developing, scanning, and darkroom printing. Whether you’re exploring medium format for the first time or looking to refine your technique, start with the guides below.
Medium Format Camera Guides
Detailed reviews and setup guides for the most popular medium format systems, covering both film and digital.
- The Hasselblad 500cm — The iconic 6×6 system: modularity, lens options, and what to know before buying
- Pentax 67 Review — The giant SLR that changed medium format: history, versions, and shooting experience
- The Hasselblad 500 Series — A broader look at the 500 system lineup and its evolution
- Setting Up the GFX 100s — Getting started with Fujifilm’s digital medium format system
- Medium Format Camera Types — From 1901 box cameras to modern mirrorless: a complete history
Film Photography & Developing
Practical guides to shooting, developing, and troubleshooting medium format film at home.
- Developing Color Film at Home — C-41 processing walkthrough for medium format
- Film Developing Issues — Common problems and how to diagnose them
- Streaks in Film — Causes and fixes for development streaking
- The Cost of Shooting Medium Format Film — A realistic breakdown of what it costs per frame
Film Stocks
- Kodak Portra — The professional color standard
- Kodak Ektar — The finest grain film in the world
- Kodak Gold 200 — Budget-friendly color with character
- Ilford HP5 — A versatile black and white workhorse
Scanning, Printing & the Darkroom
From digital scanning workflows to traditional optical printing techniques.
- Dynamic Range of Scanned Negatives — Getting as much dynamic range as possible from a flatbed scanner with medium format negatives
- Flatbed Scanning Vs. Cameras Scanning — Get help choosing which method is best for your needs.
- Omega C-700 Enlarger — Setting up a medium format darkroom enlarger
- 8×10 Contact Printing — The basics of contact printing large negatives and how they compare to medium format
- Inkjet vs. Darkroom Prints — Comparing longevity and quality between digital and analog output
- How Film Is Made — Understanding what’s inside the roll
Comparisons & Technical Deep Dives
Side-by-side tests and technical analysis across formats and systems.
- Medium Format Film vs. Fuji GFX — How film 120 negatives compare to digital medium format
- Why Does Medium Format Film Look Better Than Digital? — Exploring what gives film its distinctive look
- GFX vs. Leica M — Digital medium format against a full-frame rangefinder
- GFX Resolution — Testing the limits of the Fujifilm GFX sensor
- The Brenizer Method — Simulating medium format depth of field with smaller sensors
Latest Posts:
- Flatbed Scanner vs. Camera Scanning: Which Is Better for Medium Format Film?
If you shoot medium format film, you’ve probably wrestled with this question: should you scan your negatives with a flatbed scanner or use a digital camera? I’ve been going back and forth on this for a while now, so I decided to put my Epson V850 head-to-head against my Fuji GFX 100s in a real-world… - Film Developing on a Budget – How to Save Real Money Without Cutting Corners
One of the most common questions I get from people getting into medium format film photography is some version of “how do I keep the costs down?” It’s a fair question. Between the camera, the film, and getting everything developed and scanned, the per-frame cost of shooting 120 film can add up quickly — especially… - Kodak Ektar Film
Kodak Ektar 100 holds a unique position in the medium format world. Marketed by Kodak as the finest grain color negative film ever made, it delivers a look that no other C-41 emulsion can quite replicate — hyper-saturated colors, razor-sharp detail, and an almost transparency-like rendering that sets it apart from the Portra family and… - Developing Color Film at Room Temperature
If you have ever talked yourself out of developing color film at home, the reason was almost certainly temperature. The standard C-41 process calls for developer at 102°F, held within a degree or two for the duration of the development step. That requirement sends people shopping for sous vide machines, foot spas, immersion circulators, and… - Pentax 105mm Takumar Review
There are lenses that photographers recommend, and then there are lenses that sell entire camera systems. The Pentax 67 105mm f/2.4 belongs firmly in the second category. For decades, this unassuming standard prime has been the single biggest reason photographers buy into the Pentax 67 system — a camera that is itself enormous, heavy, and… - Hard Water Spots on Film Negatives: Causes, Prevention, and Fixes
Hard Water Spots on Film Negatives: Causes, Prevention, and Fixes Few things are more deflating than pulling a freshly developed roll of 120 film from the drying line and discovering a constellation of white spots and mineral deposits scattered across your negatives. You nailed the exposure. You got the development right. And now there are… - Dynamic Range Of Film Scanning
Your film is holding more information than you think. If your scanned negatives look flat, lack shadow detail, or feel like they can’t compete with digital captures, the problem almost certainly isn’t the film — it’s the digitization process. A well-exposed color negative on modern film stock can record 12 to 14 stops of scene… - Fogged Film From Light LeaksFilm Fogging: How to Identify and Prevent Light Leaks in Your Photographs If you’ve ever pulled a roll of freshly developed film from the tank — or received scans back from your lab — only to find mysterious glows, color shifts, or washed-out areas creeping into your frames, you’ve encountered fogging. It’s one of the…
- Film vs. Digital Sensor Size
One of the most significant differences between medium format film and digital is the actual imaging area. Traditional 120 film cameras capture images at various sizes depending on the format: 6×4.5cm (645): Actual frame size approximately 56×41.5mm (2,324 sq mm) 6x6cm: Actual frame size approximately 56x56mm (3,136 sq mm) 6x7cm: Actual frame size approximately 56x70mm… - Pentax 67 Review
The Giant SLR That Changed Medium Format The Pentax 67 system needs no introduction to film photographers, but it does deserve a proper deep dive. In this Pentax 67 review, I’ll share everything I’ve learned about the camera since adding one to my kit, combined with the history, quirks, and practical knowledge that every owner…
About This Site
I’ve been shooting for over 30 years, starting with 35mm Nikon film cameras in the 1990s, moving through digital, and eventually finding my way to medium format. Today I shoot across Hasselblad 500cm, Pentax 67, and Fujifilm GFX systems, and I develop and print all my own film at home.
This site documents what I’ve learned — including the mistakes. If my missteps can save you a ruined roll or a bad scan, it’s worth sharing.
Purchasing gear from the above link helps me keep the site going!