Perhaps the first question is, “What is a Pizzicheria?” I don’t speak Italian (at least not beyond a few words of “opera Italian” picked up from my music background), so I went looking for a definition. They seem to be somewhat varied, ranging from a “grocery” (though perhaps a small one and not a modern big store?) through more or less a delicatessen to a place that sells meats of various sorts.
I did not go into this place, but judging by some of the things appearing on the store front, I’m going with the meat-oriented business. There is that actual pig’s head hanging from the wall, for starters, and a few other clues. It did appear to be a place with a bit of local character, or perhaps just plain “character.” For example, they are apparently not very interested in visits by photographers. A hand-written sign hung inside that curtain proclaim “NO FOTO NOFILM!”
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
The following charts summarize various data that are useful when comparing formats, either film or digital. (Not all possible comparisons are shown.) Some additional background regarding some of the traditional film formats known as “medium format” is found at the end of this post.
Basic Formats Data
Comparisons Normalized to Full Frame Format
Comparisons Normalized to miniMF 33×44 Format
Comparisons Normalized to 645 Medium Format Film
Comparisons Normalized to Full Frame at 4:3 Crop
Comparisons of Square Formats Normalized to 6×6 Medium Format Film
Comparions Normalized to 6×17 “Panoramic” Medium Format Film
Visual Comparison
The following illustration shows the relative sizes of some common digital and film formats. (Not all variations are shown.) The leftmost group includes common digital formats. The next group — indicated in yellow — includes common traditional formats collectively known as “medium format” film. At the far right is 4×5 “large format” film.
A chart showing the relative sizes of several digital and film photography formats ranging from micro-four-thirds to 4×5 film
Notes on this illustration:
645 film is shown in both the “landscape” and “portrait” orientations in order to make clear that it shares the 56mm dimension with the other types of medium format film. (The portrait version is partially hidden the landscape version.)
There are multiple variations on “large format film.” Shown here is the most common 4″ x 5″ size, the smallest of the large format film formats typically still in use.
About Medium Format Film
While those of us who have “done photography” for a long time are familiar with the traditional “medium formats,” those without that perspective may be less (or not at all) familiar with the meaning of the term. Medium format” traditionally (for many decades) referred to film formats using (primarily) 120/220 film with a 6cm (60mm) physical width. While details of these formats are included in the tables above, here is a brief contextual overview:
645 format (1) is the smallest of the traditional common film medium formats. It is named based on “6cm x 4.5cm.” In actual use the frame size is slightly smaller than the 6cm film width at about 56mm. (This is typical of film medium formats — the “6” always refers to the physical film width, not the smaller actual image size.)
6×6 format produces a square image of approximately 56mm x 56mm, and is the next larger film medium format above 645.
6×7 format uses the 56mm width-determined dimension for its shorter side, and thus has a larger area than 6×6. (It approximately replicates the 5:4 aspect ratio of LF film.)
6×9 format also keeps the 56mm dimension its shorter side, but expands the longer dimension to produce a 3:2 aspect ratio – like 35mm film and full frame digital.
6×17 format (also known as “panoramic format”) is the largest common medium format. It also uses the 56mm dimension for its short side but greatly extends the long dimension to produce a 3:1 aspect ratio.
(1) While Pentax names its miniMF digital cameras using the “645” term, they do not use 645 format sensors. They use 33mm x 44mm sensors, just like Fujifilm, Hasselblad, and others. Additional note: On a few occasions, Fujifilm has referred to 33mm x 44mm format as “super full frame.”
(For comparison purposes, note that the dimension that is 56mm on 645 film format is 44mm on miniMF. When comparing to the other medium formats, the analogous comparison is between 56mm and 33mm.)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books and Amazon.
A Florence, Italy souvenir store still retains the venerable name of Kodak.
Mostly there is nothing particularly noteworthy or unusual about this little souvenir store in Florence, along the edge of the square where the Duomo is found. It appears to be much like the many other similar shops, there to cater to the many tourists who pass through. I passed by on the last morning of our long overseas trip — we were out for a few final hours of wandering around before beginning the ordeal of the flight back home.
The attraction of the shop is, of course, the anachronistic (or nostalgic, depending on your age) name of the shop: “Kodak Film,” declared twice on the two signs. There was a day when Kodak film was a mainstay in places like this, but those days are long gone. I didn’t go inside to check, but I doubt that there is much or even any Kodak film for sale inside these days. But as I type this I recall the sensations of purchasing those boxes and even of tearing the wrapper off of an old spool of 120 or perhaps opening a film can. I also note that the people taking a picture in front of the store are using… smart phones!
Photographer Louis Mendes rides a historic New York subway car
The timing of our December 2015 visit to New York City coincided with a special event on the New York Subway system — a day when historic subway trains run along one Manhattan route. Our sons had told us about this before, and we all met up at the south end of the line to catch the first train. It is made up of a variety of cars — some from just before the vintage of the current trains and others from much further in the past. It is a big event, and by the time the second run began there were big crowds. (One fun thing was watching the looks of the faces of folks at stations who didn’t know about this… as ancient subway trains rolled in and stopped to take on passengers.)
As I walked through one of the cars there was a big group of photographers, many holding vintage film cameras, some rigged up to work with modern electronic flash units. This fellow immediately caught my eye, and for a bunch of reasons. Many years ago my father had a camera almost exactly like his, and I thought it was the coolest thing back then. I also was taken by the contrast between his rig, with his giant camera and multiple flash units, and what I use to photograph in circumstance these days… a very small mirrorless system that works so well in low light than I never use flash. And I was pretty sure I recognized him, and thought that I had read about him somewhere. It was too crowded and noisy to talk, but I later figured out that he is street photographer Louis Mendes, who is well-known for photographing with this eclectic equipment in Manhattan. (I later ran into him again in front of the B&H store, and I recently read an interview in which he said that is his “third favorite” location for photographing.)
