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\r\n\r\nMedium format has been long-established to a film format in still photography and the allied cameras and equipment that use this film. By and large,Medium format produce images larger than the 24 by 36 mm of 135 film, but smaller than the 4’94′d75’94 size (that’s the Large format territory).\r\n\r\nIn 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. Every so often, medium format film cameras can be fitted with digital sensor or a film holder, 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.\r\n\r\nIn 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.\r\n\r\nWhile 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.\r\n\r\nThe general rule with consumer cameras ’97 as opposed to specialized industrial, scientific, and military equipment ’97 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, auto-focus (sensors to determine correct focus) 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.\r\n\r\n\r\n\r\n\r\n\r\n\r\nAdvantages:\r\n\r\nThe 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.\r\n\r\nCompared 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.\r\n\r\n\r\n\r\nDigital Medium Format:\r\n\r\nDigital 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.\r\n\r\nIn 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.\r\n\r\nCamera maker Hasselblad merged with digital imaging firm Imacon and partnered with Fuji to design and produce a new line of digital-friendly medium format cameras, the H-Series. Since the manufacturer plans to sell digital backs integrated with the camera, other makers of digital backs are far less likely to be able to sell backs for this camera. This partnership is the clear market leader.\r\n\r\nIn early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released a 39 megapixel back. In 2008, Phase One announced the P65+, a 60 megapixel back, the highest resolution single-shot digital back to date. Phase One continues to dominate high end non-interpolated imaging with the largest market share.\r\n\r\n\r\n\r\n\r\n\r\n\r\n