Mamiya RB67 - anything to look for?

flavio81 · Apr 19, 2016

paul ron said:
The RZ is an amazing camera. It will serve you well till it dies.. how that will take is not forseeable.

I dont know if electronics will be serviceable, parts (electronic circuit boards) are much harder to swap in cameras. I can tell you I wont touch them. Mechanical cameras will always be serviceable, plenty of old mechanical cameras still out there.

On the other hand I can bet the electronics on the RZ are really durable. Electronics can be made very durable. For example the shutter timing circuits on the Yashica Electro 35 cameras (1966 onwards) do not fail. Same for the shutter timing circuits on the Nikkormat electronic series (1972) or on the Canon AE-1 (1976) and related cameras. They are extremely reliable. The Mamiya RZ was designed much later than them.

Usually when electronic cameras have problems, it is frequently just corroded contacts/bad solder joints/dirty switches/broken cables. And those issues can be corrected in a rather easy way.

PaulWA · Apr 20, 2016

So, as an update...

It arrived! The camera is in amazing condition, I can't believe how bright the focusing screen is. The shutter works perfectly at all speeds, and I'm impressed at the winching of the huge mirror. Great fun.

Sadly, I'm sending it back. Although all important functions are perfect, the fine focusing knob spins freely without engaging, and I worry there is damage to the focusing gears. I've contacted the shop (proper bricks and mortar store) to see if they'd rather full refund me or fix the camera. I'm a bit sad, really, the fine focusing will definitely be useful for me and they described the camera as fully tested and all functions working properly. I've heard it's a common issue, so hopefully they'll fix it. If not, I'll have the money back and keep my eyes peeled.

The lens is awesome. I love having such a wide field of view and yet being able to play with depth of field - trickier for landscapes perhaps but will make for an interesting experience nonetheless. When I get a fully working one...

It's impossible to make a mistake with exposure, too - no leaving the dark slide in!

Xmas · Apr 22, 2016

The TLR Mamiya is more practical out of a studio.

The single coated lens you have already you may want to go back to.

PaulWA · Apr 22, 2016

I've been offered a part refund to cover the cost of a repair to the fine focusing so the camera is mine. Hurrah!

Xmas said:
The TLR Mamiya is more practical out of a studio.

The single coated lens you have already you may want to go back to.

I initially began hunting for an SLR precisely because I was not happy with my rolleiflex. It's lens is completely uncoated. I like it, very much, but it's better with negative than it is slide, which seems to come out very flat looking. I won't stop using the rolleiflex but it's not going to be my main squeeze for landscape, where a wider lens and more precise focusing and framing will be needed, as well as ND filters, grads, colour corrections and polarisers (which are not available for the rolleiflex).

I was warned my tripod would be awful for outdoor use (it's a manfrotto 055xpro3 aluminium with a midi ball head rated to 8kg) and I've found this to be total nonsense (apparently, 3 section is too big and aluminium too heavy). I put a strap on it, sling it over my shoulder and walk as normal. And I'm 5 foot 5 of not at all macho!

Speaking of which, my manfrotto 498rc head is capable of supporting the mamiya! This surprised me, it's within weight limit but after tightening up the tension knob, it is very capable of supporting the mamiya and will not need to support it at funny angles thanks to the revolving back.

I took the outfit out for a spin yesterday to run a test roll of film, and a 10km walk loaded with camera, lens, cokin filter holder, kood filters, cokin square hood (all in backpack) and tripod (slung over shoulder) as well as half a litre of water and it made composition much easier than with the tlr (which is not corrected for parallax when focusing closer than several metres - slight, but there). I also felt much more at home with the wider, closer focusing lens (though I've been warned of soft results when focusing in the macro range) and the mirror lockup feature means I still get low vibration leaf shutter exposures.

In short, so far, I really really like it - and I think it's more than suitable for outdoors work as well as studio portraiture and the like. Youi do totally get why people would rather take a lighter set up for really long hikes and hill climbing, but I have my rolleiflex and ektar for those instances. For everything else, I have this dream camera, once the dream of many pros.

I will need another back for portra... And a third for pan f 50!

PaulWA · Apr 22, 2016

The other thing I'm quite excited about is the modular nature - I want to get a split prism screen for sure, and possibly a bellows hood (though it will start getting rather bulky for walkabouts). I love the idea of changing film backs - it will mostly be used with velvia but I like ektar and portra an awful lot, too. This may be the only camera I need for most things...

... Except for really long hiking. I am on the lookout for something that's very travel suitable but I don't often really need it.

paul ron · Apr 22, 2016

glad you're enjoying the new camera. have you developed the film yet?.... thats going to be a big smile.

btw i have a few bellows hoods if you're interested... pm me?

PaulWA · Apr 22, 2016

paul ron said:
glad you're enjoying the new camera. have you developed the film yet?.... thats going to be a big smile.

btw i have a few bellows hoods if you're interested... pm me?

Sadly, I do not have access to c41 processing so I'll drop off at the university next Tuesday. I am excited - assuming all is good, I'll pop some velvia in.

I'll ask for scans of the film as well as prints so I can show!

I'll PM later. I don't have any normal or tele lenses... Yet ...

BetterSense · Apr 22, 2016

I was told once that these cameras were no good for landscape use because of how they bend the film. Supposedly if you leave the backs loaded for a long time the film takes a "set" from the rollers and then it's not flat on the pressure plate for the next frame. This isn't a problem for original pro use where a roll of film was only in the camera for a few minutes.

It's a good theory.

chriscrawfordphoto · Apr 22, 2016

BetterSense said:
I was told once that these cameras were no good for landscape use because of how they bend the film. Supposedly if you leave the backs loaded for a long time the film takes a "set" from the rollers and then it's not flat on the pressure plate for the next frame. This isn't a problem for original pro use where a roll of film was only in the camera for a few minutes.

It's a good theory.

That's an issue with most medium format SLRs. Hasselblads, Mamiya 645, Bronica SQ, ETRS, GS1, all did the reverse-s-curve film path. I've never noticed an issue with it with the Mamiya 645 I have used for 22 yrs, or the Hasselblads I used to have, but I don't leave film in the camera long, either.

Theo Sulphate · Apr 22, 2016

BetterSense said:
I was told once that these cameras were no good for landscape use because of how they bend the film. Supposedly if you leave the backs loaded for a long time the film takes a "set" from the rollers and then it's not flat on the pressure plate for the next frame. ...

Well, I have only anecdotal evidence: when I bought my second RB (used), it came with film already loaded. My guess is that it had been that way for at least five or six years. Rather than toss the film, I shot it and the negatives were outstanding in their sharpness. Just one data point.

williaty · Apr 23, 2016

Yes, the film flatness is a real issue with all MF cameras and the ones that use the sharp reverse bend are the worst. However, with the fact that we're all using 120 now (since 220 is effectively dead), it's not going to take long to use 10 exposures and unload the back. It's not like the roll has any reason to be sitting in the camera for a week waiting for you to put the last 15 frames on it.

horacekenneth · Apr 23, 2016

I didn't know that about mf film flatness. I can leave film in my rb for some time. I've read something about Koni Omegas having unparalleled film flatness

PaulWA · Apr 23, 2016

I've only had film flatness issue on one frame from the rollei, but the film had been in for about four years and it was the next frame along - I guess it bowed out. Never had an issue since, I shoot a roll of 120 every week if I'm lucky, two to three weeks otherwise. I'm trying to improve my hit rate, so have an incident/reflective meter and really waiting until the light is right.

Really looking forward to posting a couple of scans on here next Friday when it's all done! Hopefully no overlapping frames. I love peeking into the wlf, it's so bright compared to the rollei! I found the wlf a massive aid in composition versus a prism as it let's me step back and "see the positive" so to speak. If it doesn't look eye catching from a further distance, it's not a great image.

Wayne · Apr 23, 2016

Hmmm, how long is "too long" to leave thye film in the back? At today's prices I don't rush my way through even 10 exposures.

MattKing · Apr 23, 2016

Wayne said:
Hmmm, how long is "too long" to leave thye film in the back? At today's prices I don't rush my way through even 10 exposures.

The film in the gate will be fine.
The next shot may be curled slightly.
The following shot will be fine.

Wayne · Apr 23, 2016

But how long is too long? If I take one shot per day or week, will they all be curled except the first one?

paul ron · Apr 23, 2016

don't know how long it takes but it can be a problem. Since you use your film sparingly.. you'll have to determine the length of time it takes to develop the reverse curl. I generally blow a roll at a time n never leave it in my camera more than a couple hours at most.

The reverse curl will give you problems getting it onto a reel.

Wayne · Apr 23, 2016

If I have to shoot my film within a couple hours of loading it, medium format and I are not going to have a very long relationship.

MattKing · Apr 23, 2016

Wayne said:
If I have to shoot my film within a couple hours of loading it, medium format and I are not going to have a very long relationship.

Are you making really large enlargements of photos taken on a heavy tripod where precise detail is absolutely critical?

Film flatness does matter, but if you are just taking a shot or two every couple of days, probably not too much.

It will vary with things like temperature, but the curl problem takes a lot more than a couple of hours to arise.

williaty · Apr 24, 2016

Keep in mind that stopping down increases the depth of focus behind the lens just like it increases the depth of field in front of it. If you're shooting with a 110mm at f/2.8, you have much more stringent demands for film flatness than if you're shooting a 50mm at f/11. People who consistently shoot wide open are more likely to report flatness problems than people who consistently shoot stopped down for maximum depth of field.

BetterSense · Apr 24, 2016

williaty said:
Keep in mind that stopping down increases the depth of focus behind the lens just like it increases the depth of field in front of it. If you're shooting with a 110mm at f/2.8, you have much more stringent demands for film flatness than if you're shooting a 50mm at f/11.

Actually it's not that straightforward because depth of focus, like depth of field, depends on both aperture and magnification, but the relationship is inverse so shorter lenses have more depth of field but less depth of focus. So you would expect the film plane flatness problem to be more critical with shorter lenses than with longer ones.

PaulWA · Apr 24, 2016

Just posting some happiness at hearing the mirror "thwack" into place. Bloomin thunder clap of a mirror. Love it.

Multiple exposures are a doddle, too. I've taken a test multiple exposure for a project I'm considering trying, and it was a breeze compared to my 35mm kit.

Not sure how much city shooting it'll see mind, it is a bit imposing!

Theo Sulphate · Apr 24, 2016

PaulWA said:
Not sure how much city shooting it'll see mind, it is a bit imposing!

I've done handheld street photography with my RB67 with very good results.

paul ron · Apr 25, 2016

i hand hold my rb with excelent results. it takes practice and a good strap. i wrap my strap around my arms in such a way the camera is nice n secure to my body. i think this method is illustrated in the user manual. just be sure not to try it with those cheapo optec straps, those plastic connectors will surely pop open.

flavio81 · Apr 25, 2016

PaulWA said:
Not sure how much city shooting it'll see mind, it is a bit imposing!

The RB67 is excellent for handholding down to 1/15s, and in this it has a definitive, conclusive advantage over the classic Hasselblads (500-series) and the earthquake-like Pentax 67 cameras.

In fact i find it more handholdable on slow shutter speeds than my 35mm SLRs..

Mamiya RB67 - anything to look for?

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Mamiya RB67 - anything to look for?

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