The decision to upgrade our jewelry photography capabilities at the studio didn’t happen overnight. It was a process driven by necessity, a desire for excellence, and a search for reliability and precision. Over the years, we’ve worked with a variety of DSLR systems, particularly Canon bodies such as the 5D Mark II and III, which delivered solid results. However, as our work and clientele grew, we recognized the limitations of our existing equipment, particularly in the highly detailed and demanding field of jewelry photography. We needed something better—something built for the kind of precision work we do every single day. That’s when the idea of moving to medium format began to gain traction.
For those unfamiliar, medium format digital photography involves a larger sensor size than traditional 35mm DSLR cameras. This sensor size advantage brings along several benefits—more resolution, greater tonal range, better dynamic range, and significantly improved image quality. These features are crucial when you're tasked with capturing intricate jewelry pieces, where every sparkle, shadow, and reflection needs to be rendered in exquisite detail.
The decision was made. After extensive research and consultation, we settled on the Phase One 645DF paired with the IQ160 digital back. The setup is supported by a range of top-tier lenses, most notably the razor-sharp 120mm macro, which has since become a studio favorite. This system boasts an astounding 60 megapixels, offering the kind of resolution and flexibility we’ve never experienced before.
But before diving into what this system has done for us, let’s talk about why we leaped in the first place. Several core reasons led us to embrace medium format, each grounded in practical benefits that align with our studio's needs.
Image Quality: A Leap in Detail and Depth
One of the main reasons for switching to a medium format system was the sheer image quality it offers. This is not just about megapixels—though 60MP certainly helps—but about how those pixels render color, tone, and texture. Jewelry photography demands a level of detail and dynamic range that conventional DSLR systems struggle to deliver consistently. In a controlled studio environment, where lighting and subject positioning can be precisely managed, medium format excels. It allows us to capture the reflective nature of metals, the clarity of diamonds, and the subtle color gradients in gemstones with unmatched fidelity.
Highlights are one area where the Phase One system shines—quite literally. When photographing jewelry, managing specular highlights is crucial. These bright reflections define the shape and surface of the metal and stones. With the IQ160 digital back, we’ve found a significant improvement in highlight retention, allowing us to preserve detail even in the brightest areas of an image. This means fewer blown-out spots and more usable data for post-processing, ultimately leading to richer, more dimensional images.
Another aspect to consider is tonal depth. Medium format sensors typically offer 16-bit color as opposed to the 14-bit or 12-bit color found in many DSLRs. This difference translates into smoother transitions between tones, better color accuracy, and more flexibility during retouching. When editing a high-resolution jewelry photo, being able to push the color and exposure without introducing banding or noise is a game-changer.
Depth of Field and Focus Stacking: More with Less
Focus stacking is a common technique in macro photography, particularly when shooting small, detailed subjects like rings, earrings, or intricate pendants. Because these objects are shot at close range, the depth of the field becomes extremely shallow, making it difficult to get the entire piece in focus in a single shot. The traditional solution involves taking multiple images at different focal planes and blending them in post-production.
With our old Canon setup, a single piece of jewelry would typically require anywhere from 8 to 9 stacked images to achieve the necessary depth. This was not only time-consuming but also increased the processing load and complexity of our workflow. With the Phase One system, the story is quite different.
Due to the larger sensor size and how it interacts with focal length and subject distance, we’ve found that we can achieve greater depth of field even when the object is slightly smaller in the frame. This means fewer images are needed per stack, often just 4 or 5 instead of 9. That might not sound like a huge difference, but multiply it across hundreds or thousands of products, and the time savings become substantial.
Additionally, the final images, even after cropping, are still comparable in size to the full-frame DSLR output, thanks to the 60MP resolution. This gives us both efficiency and quality—less shooting time, fewer files to manage, and results that are just as good, if not better. And since much of our work is destined for web and catalog use, there’s no need to use the full 60MP for every single shot. That said, having the option to do so when needed is invaluable.
Imagine a client requesting 1,000 product images a year. If you’re stacking five fewer images per product, that’s 5,000 fewer images to process. Do that across multiple clients, and you’re looking at tens of thousands of images saved annually. That’s a major win in terms of time, cost, and operational efficiency.
Reliability and Workflow Stability
The frustrations we experienced with our previous Canon system played a significant role in our decision to switch. While Canon DSLRs like the 5D Mark II and III are fantastic for many types of photography, they were not the most reliable tools in a high-volume, tethered studio environment. We encountered repeated issues with the USB connections on multiple bodies—three cameras, to be exact. Each one required service due to broken USB ports, costing us not only money but valuable production time.
These problems weren’t always immediately apparent. Sometimes the camera would freeze mid-shoot, refusing to transfer files unless we restarted the entire system. Other times, we’d have to remove the battery just to get the camera responsive again. These interruptions, while manageable in small doses, become incredibly frustrating when you’re running back-to-back shoots under tight deadlines. Not to mention the stress and uncertainty of wondering whether the camera would fail again during a critical session.
With the Phase One system, those worries have vanished. It uses a robust FireWire connection that is physically more durable and built for professional tethered shooting. The cables are thicker, the ports are sturdier, and the system feels purpose-built for commercial photography environments. While it’s easy to praise image quality and resolution, sometimes it's the smaller, practical aspects of a system that make the biggest impact on your day-to-day operations.
In our studio, where cameras remain mounted on tripods all day and cables are regularly handled, durability and reliability are non-negotiable. The Phase One system has proven itself in this regard. We can now shoot with confidence, knowing that our tethered workflow is stable and consistent. No more missed shots, no more unexpected shutdowns, and no more wasting time troubleshooting camera-to-computer connections.
Sharpness and the Anti-Aliasing Advantage
Sharpness is critical in jewelry photography. When capturing small, finely detailed items, any softness in the image can translate into a less professional final product. One of the lesser-known benefits of medium format systems like the Phase One IQ160 is the absence of an anti-aliasing (AA) filter. These filters, common in many DSLR sensors, are designed to reduce moiré patterns by slightly blurring the image at a pixel level. While this is useful in general-purpose photography, it can be a disadvantage when maximum detail is required.
By omitting the AA filter, the IQ160 captures images with uncompromising sharpness. This is especially beneficial when paired with top-tier lenses like the 120mm macro. Even when stopped down to smaller apertures such as f/22 or f/29, these lenses maintain exceptional sharpness with minimal diffraction. By contrast, our Canon lenses struggled at such narrow apertures. Shooting at f16 or smaller often resulted in noticeable softness due to diffraction, which limited our flexibility and consistency.
Now, we can confidently shoot at f22 or even f29 without fear of image degradation. This opens up more creative and technical options, particularly for larger, more complex jewelry pieces that require extensive depth of field. And when we need to resize images for large-format use—such as posters, banners, or high-end prints—the additional sharpness makes a tangible difference.
For projects where ultimate image fidelity is required, we may open up the aperture slightly to avoid any potential diffraction. But in most cases, we’ve found the Phase One system to be remarkably forgiving and dependable across a range of settings. The result is images that are tack-sharp, vibrant, and bursting with fine detail—the kind of quality that makes a statement and keeps our clients coming back.
Why Not Nikon? A Deeper Look at the D800/E vs Medium Format
When discussing high-resolution photography systems, it’s impossible to ignore the Nikon D800 and D800E. These cameras made a splash in the photographic world upon release, boasting a 36-megapixel full-frame sensor at a relatively accessible price point. For many photographers, they represented a new standard in image detail without having to step into the realm of medium format. Naturally, one of the most common questions I receive is: Why didn’t I go with Nikon?
On paper, the Nikon D800E is impressive. It offers high resolution, excellent dynamic range, and great low-light performance. Many comparisons show that the D800E can match or even exceed medium format systems in shadow detail. But photography isn’t just about dynamic range or megapixel count—it’s about the entire ecosystem, workflow, and how a camera performs in a given context. For our studio, focused heavily on tethered jewelry photography in a controlled lighting environment, the D800E just wasn’t the right fit.
First, there’s a matter of tonal range and color rendering. One of the subtle yet critical advantages of medium format is how it handles tonal transitions and color depth. Even without pixel peeping, there’s a noticeable difference in how smooth gradients appear, particularly in areas with reflective or translucent materials like gemstones, polished metals, or pearls. The Phase One IQ160 offers a tonal response that, to my eye, simply feels more natural and luxurious. It provides greater headroom in highlights, and the transitions from light to shadow exhibit a creamy, film-like quality that’s hard to replicate.
Second, there’s lens quality and system integration. The lenses built for medium format systems like Phase One are engineered with extreme sharpness and minimal distortion in mind. While Nikon’s lenses are no slouch, they’re not built to the same tolerance as their medium format counterparts. The Phase One 120mm macro, for instance, is one of the sharpest lenses I’ve ever used. Combined with the lack of an anti-aliasing filter on the IQ160, it captures detail at a level that surpasses even the best 35mm setups. When you’re working with jewelry pieces that require viewers to see every etched detail, every stone’s facet, and every delicate curve, these distinctions become more than just technical talking points—they define the value of the work itself.
Another reason I passed on the Nikon D800E is the design of the camera for studio use. While the D800E offers tethered shooting capabilities, it doesn’t come close to the Phase One system in terms of software integration, stability, and durability in a high-use studio environment. The Phase One system is engineered from the ground up to function seamlessly with Capture One, their industry-standard tethering and raw editing software. This integration ensures fast file transfer, superior file handling, and dependable operation during long shooting sessions.
Lastly, let’s talk about build quality and user experience. The Phase One digital back is not only a sensor—it’s an interface. It features a large touchscreen display, intuitive menu systems, and real-time feedback that makes on-set decisions more efficient. The tactile controls, clear menus, and high-quality materials all speak to a device that is meant for rigorous, professional use. In contrast, the Nikon D800E, while solid and capable, feels more like a consumer camera dressed in professional clothing. It’s a great tool, no doubt, but not the one I want to rely on when clients are standing by and expectations are sky high.
Keeping the Canon System: A Balanced Toolkit
Just because we moved to medium format doesn’t mean we abandoned everything we used before. A significant part of our studio workflow still involves Canon equipment. Why? Because different tools serve different purposes, and in photography, there is no one-size-fits-all solution.
We retained much of our Canon system for a second shooting station that remains fully functional and optimized for tasks where speed, agility, and certain camera features are more critical than resolution alone. For instance, when we shoot behind-the-scenes images, lifestyle product setups, or handle quick-turnaround catalog work that doesn’t require ultra-high resolution, the Canon 5D Mark III still holds its ground.
There are also technical advantages in the Canon ecosystem. Canon’s autofocus system is fast and highly reliable in situations where subject tracking or shallow depth-of-field compositions are required. The Canon’s high ISO performance, for example, is markedly better than that of most medium format systems. For out-of-studio shooting where lighting conditions are variable or when you’re capturing fast-moving subjects, Canon has the edge.
Moreover, when burst shooting or capturing motion, Canon offers features that the Phase One system simply doesn’t. The Canon bodies can shoot several frames per second, making them ideal for capturing expressive hand movements, motion blur effects, or multiple takes quickly. This capability is rarely needed in jewelry photography but becomes invaluable when we pivot to fashion or lifestyle projects where spontaneity and action are part of the creative direction.
So while the Phase One IQ160 is our primary tool for high-resolution jewelry and still life photography, the Canon system remains a trusted ally. Having both platforms available allows us to be nimble, to match the right tool to the job, and to avoid compromising quality or efficiency.
This diversity of tools reflects an important philosophy within our studio: equipment should empower creativity and consistency, not limit it. By retaining and maintaining our Canon gear, we’re able to respond to a wider range of client needs without sacrificing reliability or performance.
Looking Ahead: The Studio’s Evolving Vision
The addition of the Phase One IQ160 system to our studio is more than just a technical upgrade—it represents a strategic shift in how we view our work, our brand, and our potential. The 60-megapixel resolution, superior lens selection, and robust tethered shooting experience all contribute to a new standard in our output. But more importantly, this shift aligns with our broader goal: to be a studio known not just for reliability or speed, but for world-class quality and craftsmanship in image-making.
As we move forward, this system gives us the creative headroom to explore new directions. For one, we’re considering expanding into more fashion and portrait work, particularly editorial-style campaigns where resolution, skin tone accuracy, and tonal depth are critical. The ability to crop a full-resolution image significantly—say, from a full-body portrait down to a hand or a product—while still retaining detail suitable for print is transformative. It means fewer reshoots, more flexibility in post, and a higher level of control throughout the process.
We also anticipate branching into large-format display work. With the IQ160’s massive image size, creating billboard-ready images or high-end in-store displays becomes a reality. For luxury clients who demand perfection not only in product design but in presentation, this opens doors to a whole new level of visual storytelling. We no longer have to hesitate when a client requests an image at six feet tall. We can deliver confidently, knowing the image will hold up under intense scrutiny.
Another area of exploration involves video and motion content. While the IQ160 itself is a stills camera, many of our clients now request short video loops, behind-the-scenes reels, or animated content to accompany their stills. This growing need means our core photography must be even more compelling, because the still image is often the hook that draws the viewer in. With our new system, we’re laying the groundwork to build visual campaigns that are cohesive, compelling, and cross-platform ready.
Perhaps most importantly, our upgrade has already begun to impact how our clients perceive us. There’s an intangible value in working with a studio that invests in the best tools—not just for the sake of owning them, but because we understand their impact on quality, workflow, and outcomes. Clients can sense that confidence. It builds trust, reinforces professionalism, and sets expectations high.
A Closing Note on Investment and Intention
Let’s not dance around the subject—this upgrade was expensive. Compared to the Nikon D800E or even a full Canon DSLR suite, the Phase One system is a serious financial commitment. But to us, it’s not about cost. It’s about intention.
Every business decision carries with it a message. By choosing medium format, we’re telling our clients—and ourselves—that we take what we do seriously. That we’re not content with good enough. We are constantly refining our tools, sharpening our skills, and elevating our craft. This isn’t about trends, gear obsession, or chasing megapixels. It’s about building a studio that stands the test of time.
In the photography industry, where technology evolves rapidly and competition is fierce, it’s easy to fall into the trap of incremental upgrades. A new camera body here, a faster lens there. But sometimes, real growth comes from leaping. The Phase One IQ160 was our leap, and we’re already seeing the payoff—not just in images, but in mindset, efficiency, and the energy it brings to every shoot.
We believe that photography is both a craft and a business. And like any craft, it deserves the right tools. Tools that support the vision, respect the subject, and bring out the best in everyone involved. Our medium format system does just that, and we’re excited to keep exploring what it can do.
Evolving as a Studio: Collaboration, Efficiency, and Growth
With the introduction of the Phase One IQ160 system into our studio, it wasn’t just our photography that evolved—it was our entire workflow, team dynamics, and client relationships. A major investment like this doesn’t just affect the photographer behind the lens; it has ripple effects across every stage of the production cycle, from set design to post-processing to client delivery. What this transition has taught us is that great photography is the result of great systems, both technical and human.
We often think of gear upgrades as purely technical decisions, but in a studio environment, every upgrade also affects collaboration. Our stylists, assistants, post-production editors, and project managers all interact with the photography process in different ways. The new system demanded a learning curve, but it also inspired a culture of curiosity and exploration. Our lighting specialists began experimenting more with highlight control, knowing that the dynamic range of the IQ160 could handle delicate nuances. Our editors approached retouching with more confidence, knowing they had cleaner files with more flexibility. Even our project managers noticed the difference—delivery times became more predictable because we no longer needed to reshoot images due to unexpected technical limitations.
This has created a ripple effect in our turnaround times. With fewer technical errors and less time spent troubleshooting gear or dealing with corrupted tethering sessions, we’ve become faster without compromising on quality. That’s rare in commercial photography, where speed often comes at the expense of precision. But now, we find ourselves delivering projects faster and with fewer revisions. The Phase One system, with its stability and consistency, has helped create a more efficient studio—something our clients notice and appreciate.
Collaboration extends beyond the studio team, of course. Our clients, especially those who are hands-on during shoots, have started interacting with the image creation process in new ways. The live preview capabilities of the IQ160’s digital back allow clients to view compositions, sharpness, and color rendering in real time. This visibility fosters trust, minimizes misunderstandings, and allows creative direction to unfold smoothly on set. Jewelry designers, in particular, love being able to inspect the final image as it’s being created, offering input or requesting adjustments that once would have required reshooting after the fact.
Having a tool that enhances transparency and real-time feedback empowers our clients to become collaborators rather than passive observers. This shift in dynamics not only builds stronger client relationships but also ensures that the final product aligns closely with the vision of both the brand and the photographer. When all stakeholders are working from the same visual reference, the creative process becomes less about fixing mistakes and more about refining beauty.
Embracing New Challenges and Expanding Our Vision
One unexpected consequence of upgrading to medium format was how it opened our eyes to new creative possibilities. Before the Phase One system, our photography had clear boundaries—there were things we didn’t attempt simply because we didn’t feel the tools were up to the task. But once we started working with this new platform, our ambitions began to grow. We started saying yes to ideas that once seemed out of reach.
We began exploring more experimental compositions with extreme close-ups, playing with negative space, and shooting in unusual lighting conditions that previously felt too risky. The IQ160’s performance in difficult lighting allowed us to explore contrast-heavy setups with hard-edged shadows or low-key lighting for moody gemstone shots. In other words, the camera didn’t just elevate the work—it expanded our definition of what that work could be.
This has been especially important as we look to broaden our photography services. While jewelry remains our core specialty, we’ve started to take on more editorial-style assignments, beauty-focused macro photography, and high-resolution product campaigns for luxury accessories. The Phase One system has given us the confidence to tackle these projects with the same attention to detail that our clients expect from our jewelry work.
The ability to crop heavily without sacrificing image integrity has also opened creative doors. We’ve started experimenting with longer shooting distances, using wide focal lengths to incorporate environmental elements into the frame. Later, we crop the final image to create tight, isolated compositions. This gives us more creative freedom during shoots and more options in post-production, especially when clients need multiple variations of the same product for different platforms—web, print, social media, and packaging.
In this way, the investment in medium format has become a platform for growth. It’s not just about what we’re shooting today, but what we’ll be capable of shooting tomorrow. The IQ160 is not just a tool for current projects—it’s a gateway to future possibilities.
A Commitment to Craft and Consistency
The real value of moving to a 60-megapixel medium format system goes beyond sharpness or image size. It lies in consistency. As any commercial photographer knows, consistency is the holy grail of production. Clients don’t just want a great shot—they want a great shot every time. They want to know that each image in a product catalog will match in lighting, color, sharpness, and presentation. That requires more than just talent—it requires predictability from your gear.
This is where the Phase One system has become invaluable. Once our lighting setup is dialed in, we can replicate it precisely day after day. The metering is accurate, the live preview shows exactly what the final image will look like, and the files out of the camera have such depth and clarity that post-processing becomes more about fine-tuning than fixing. When shooting thousands of products per year, this reliability is what allows us to maintain quality at scale.
More importantly, our clients have come to expect this level of consistency. They rely on us to deliver product images that not only look beautiful but also match their brand identity across all touchpoints. Whether they’re launching an e-commerce site, preparing a seasonal catalog, or producing in-store display materials, they know the imagery will be flawless, cohesive, and ready for deployment. That trust is what keeps clients coming back—and what allows us to grow as a business.
It’s easy to think of photography as a creative endeavor alone, but in the commercial world, it’s also a service. And good service means reliability. The IQ160 has become a cornerstone of that service, enabling us to meet deadlines, exceed expectations, and maintain a level of professionalism that’s rare in this industry.
The Studio of the Future Starts Now
With the Phase One IQ160 firmly integrated into our studio workflow, we feel that we’ve taken an important step not only in elevating our work but in preparing ourselves for the future. Photography is an evolving field. New platforms emerge, technologies shift, and client expectations change. But the core challenge remains the same: how do we produce compelling, beautiful, technically flawless imagery—day in and day out?
Our investment in medium format photography is our answer to that challenge. It’s a declaration that we’re in this for the long haul, that we’re committed to the highest standards of visual excellence, and that we’ll continue to adapt and grow as the needs of our clients evolve.
This system gives us the foundation we need to build a future-proof studio. A studio that can handle high-volume catalog work just as easily as it can produce one-off luxury campaigns. A studio that empowers its team with the best tools available. A studio that isn’t afraid to experiment, to try new things, and to push the limits of what product photography can look like.
We believe that great photography is about attention to detail. About capturing not just how something looks, but how it feels. And with the Phase One system, we now have the resolution, the tonal range, the color fidelity, and the reliability to do that better than ever.
Conclusion:
When I look back at the decision to purchase the Phase One IQ160 system, I can honestly say I have no regrets. It was a bold move, one that required a serious financial commitment and a willingness to rethink our workflow. But the rewards have far outweighed the costs.
We now produce images that make people stop and look twice. Images that tell stories, evoke emotion, and reflect the craftsmanship of the products they depict. That’s a powerful thing. And while gear alone doesn’t make a great photographer, having the right tools can elevate good work into exceptional work.
We didn’t make this leap because we wanted bragging rights or because we’re obsessed with technology. We made it because we believe in the power of imagery to shape perception, build trust, and add value. Our clients don’t just hire us for pictures—they hire us to represent their brand, to showcase their creations, and to help them stand out in a crowded market.
The Phase One system has become a key part of how we deliver on that promise. And as we continue to evolve as a studio, we’re excited to see where it will take us next.
If there’s one lesson I’ve learned from this transition, it’s that photography—especially in the commercial space—is not just about capturing reality. It’s about elevating it. Making it more vivid, more precise, more impactful. And with 60 megapixels, no anti-alias filter, and a set of lenses that see better than the human eye, we now have the tools to do exactly that.
We’re ready for the next chapter. And thanks to this system, we’re entering it with clarity, confidence, and a renewed sense of purpose.