Praising the RB67 Pro S -- Hail the Emperor of Medium Format

Theo Sulphate · May 16, 2016

macgreg said:
...
So .... I was recently gifted an RB67 with an 127 lens. The problem is that the lens is stuck...

Stuck on the camera body or 'stuck' - meaning the shutter doesn't trip?

It's a great lens, you won't be disappointed in what it can do.

Roger Cole said:
... I see two Polaroid backs at KEH. One is a Polaroid MDl 3 in EX for $99, which seems more than a bit much for, again, a back for only discontinued film of which I have a limited supply. The other says "Mamiya RZ POLAROID RZ (MTL CLIP) ORIGINAL CHR FINISH" and clearly looks to be an older design, $43 in BGN.

What are the differences between these? ...

This may help - further down in this thread:

(there was a url link here which no longer exists)

Roger Cole · May 16, 2016

I think that was even more confusing though I thank you for it. So the older (less expensive) back always shoots 7x7s but the newer one matches the 6x7 of a regular back? Or can?

That actually sounds more like a point for the older one. Shoot one shot and drop some cropping Ls on it and see what you can do either way.

tokam · May 16, 2016

PM'ed you on a Polaroid back for you from Australia.

macgreg · May 17, 2016

Theo Sulphate said:
Stuck on the camera body or 'stuck' - meaning the shutter doesn't trip?

It's a great lens, you won't be disappointed in what it can do.

The shutter won't fire, actually.

tedr1 · May 18, 2016

There are a number of possible reasons for the shutter not firing. It is possible the shutter is defective. However before sending it for repair some simple tests should be made to eliminate the safety features built into the camera that prevent the shutter from firing under certain conditions. The shutter will fire when the following conditions are satisfied: the shutter lever has been cocked (RH side of body); the shutter lock has been released (front of body); the dark slide has been removed from the film back; the film back has been wound on; mirror up is disengaged (LH side of lens).

If the shutter refuses to fire after checking and clearing these safety features, which are designed to prevent mis-operation, then remove the lens from the body. Follow the instructions on page 10 of the camera instructions for manual release of the shutter (press and hold down the small silver pin and turn the pair of silver pins clockwise, no force is required, the shutter should close. While keeping the small silver pin pressed it should be possible to open and close the shutter by turning the pair of silver pins clockwise and anticlockwise, no force is required.) If this test fails have the shutter repaired.

In case the instructions are not in-hand they can be downloaded here

http://www.mamiyaleaf.com/assets/files/documentation/RB67_Pro_SD_v7.pdf

these are for the final model, the previous models Pro, Pro S are similar but not identical.

macgreg · May 18, 2016

Thanks for the reply. I had already tried that but with no results. I took the camera to a repair shop and now I'm waiting.

flavio81 · May 23, 2016

macgreg said:
Wow, this looks like the ultimate RB thread. Glad I found it !!

So .... I was recently gifted an RB67 with an 127 lens. The problem is that the lens is stuck, the previous owner had told me about it, asked if I wanted the camera and try to fix the lens and of course I agreed !!!

Should I try and have the lens fixed, is it worth the effort or should I get one from eBay may be ? I don't know if that's the lens I will be using. I have no idea how this beast will work for me ... I am thinking of some portraits, at first and may be some landscapes. So, should I stick to that or try another lens ?

Well, it's a whole new world for me right now so any help would be appreciated. I think I will love that camera, my only concern is that I cannot print 6x7 with my enlarger but hell .... I cannot wait to see the scans from that babe !!!

The lens will not be able to be removed from the camera if the camera/lens is not cocked. So cock the lens first.

There are many conditions for the camera to prevent the shutter from firing, as described above, but the previous poster forgot to mention the "M/N" "mirror up" switch on the side of the lens, around the cable release socket. If set to one of the two positions -M, if i recall correctly-, then the shutter will not fire until a cable release is inserted into that socket and used for firing the lens.

Also, reading the manual is MANDATORY for the RB67, go check the manual to be sure what's preventing the shutter from firing.

Those shutters aren't more complex than your regular leaf shutter so any repairman should be able to fix it.

Roger Cole · May 24, 2016

Roger Cole said:
I think that was even more confusing though I thank you for it. So the older (less expensive) back always shoots 7x7s but the newer one matches the 6x7 of a regular back? Or can?

That actually sounds more like a point for the older one. Shoot one shot and drop some cropping Ls on it and see what you can do either way.

The link specifically to polaroid backs is now broken, but the one I was referring to, to the big compatibility chart, looks handy. It looks like all the RZ not-RB backs will work with my RZ Pro II, and one difference is that the later ones have a built in dark slide holder. That's not too important as I mainly intend this to be for use in the little studio I'm setting up downstairs.

tokam said:
PM'ed you on a Polaroid back for you from Australia.

Thanks, sorry it's been a while, I'm about to reply momentarily.

Now another question - that chart shows "adapter ring recommended" for RB C series lenses. What are these rings, why are they "recommended" but apparently not required, and where to find them?

I got the 110 and a 180 with the camera. I'd like something moderately wide angle and will be set, I think. (As great as everyone says the 127 is, it's so close to the 110 in focal length I can't see a reason to prioritize it.) There's a 55 and 65 RB C lens each for good prices at KEH. The RZ 65mm f/4 MLA is (at KEH) twice as much money. I'd lean more toward a 65 on 6x7 I think. My 55 on my 645 is about perfect most of the time.

EDIT: Never mind about the adapter ring for C lenses to RZ (or RB Pro-SD I think.) I found them on Amazon for twenty bucks.

rpavich · May 24, 2016

I just got done shooting and developing my first roll with this monster...what a rush!

It makes me feel like I'm a sniper with a 50mm at 1000 yards.

I found shooting with flash incredibly easy compared to other systems.

I can't wait to print some of the negatives.

M Carter · May 24, 2016

I bought my RB used in the 90's and shot lots of commercial gigs, catalogs, fashion with it. Today I do B&W and man - the negs on the light table with a loupe? They just look three dimensional.

Y'know what's fun? if someone visits that's kind of into photography, let them look through the VF. Really freaks people out when they're used to DSLRs.

So far, I have a pro-s, couple backs, 65, 90, 110, 180 (2 of 'em in fact) and 250. I want the 360mm very badly for a special project in mind. Missed one on - of all places - Etsy - for $105. I'll find one...

APUGger Ron Paul talked me through disassembling a 180 to clean a stuck shutter. Damn thing actually worked when I reassembled it! (Thus the 2nd 180, bought another when mine went down).

Found this the other day - EPP, Mamiya RB and 180mm - client was amazed how much texture we could hold in these knit clothes.

Roger Cole · May 24, 2016

It's a great system but you folks who are blown away by the negatives and transparencies should never try large format then. (I'm sure I'll love my RZ, but next on the G.A.S. list after a Polaroid back and WA lens for it upgrading my rickety 4x5.)

Theo Sulphate · May 24, 2016

rpavich said:
I just got done shooting and developing my first roll with this monster...what a rush!

It makes me feel like I'm a sniper with a 50mm at 1000 yards.

You mean .50BMG at 1000 yards (0.51 = 12.9mm)

I only mention that because I shoot it in competition (also at 1 mile) - Barrett M82A1.

So you are using flash - I assume this is portrature. Which lens(es) are you using? I have the 140mm C and 180mm C and think they're fantastic.

rpavich · May 25, 2016

Theo Sulphate said:
You mean .50BMG at 1000 yards (0.51 = 12.9mm)

I only mention that because I shoot it in competition (also at 1 mile) - Barrett M82A1.

So you are using flash - I assume this is portrature. Which lens(es) are you using? I have the 140mm C and 180mm C and think they're fantastic.

Yep!

I have the 127mm for portraits.

rpavich · May 25, 2016

M Carter said:
I bought my RB used in the 90's and shot lots of commercial gigs, catalogs, fashion with it. Today I do B&W and man - the negs on the light table with a loupe? They just look three dimensional.

Found this the other day - EPP, Mamiya RB and 180mm - client was amazed how much texture we could hold in these knit clothes.

Wow, that's impressive!

Theo Sulphate · May 25, 2016

M Carter said:
...
Found this the other day - EPP, Mamiya RB and 180mm - client was amazed how much texture we could hold in these knit clothes. ...[/IMG]

Not only that, there won't be any moiré patterns on film - which often ruin digit*l photos of fine fabric. So, that's another advantage over 36MP and 54MP sensors - either with or without anti-aliasing filters.

M Carter · May 26, 2016

rpavich said:
Wow, that's impressive!

Thanks - I was looking through that with my wife, at the time I had a decent sized daylight studio. She was like "hey, that's our dining table now!"

I really enjoyed shooting fashion in the film days - digital has made that biz much harder as there are kids working for nothing, a few of whom do a decent job. None of whom will ever know the feeling of trying to sleep before the snip tests came from the lab in the morning. For a shoot with total crew and location expenses of 2 or 5 or 10 grand! Amazing what we did with light meters and good polaroid.

M Carter · May 26, 2016

Theo Sulphate said:
Not only that, there won't be any moiré patterns on film - which often ruin digit*l photos of fine fabric. So, that's another advantage over 36MP and 54MP sensors - either with or without anti-aliasing filters.

Even bigger - as I looked through this catalog, with windows only covered in soft sheers as big chunks of backgrounds… the freaking dynamic range. Would be much harder to replicate those shots today, without big ugly white spaces. Watch your exposure and you could just let so much stuff render as it wanted to with E6.

macgreg · May 27, 2016

Sooooo, my RB67 Professional (not S) just came back from a full service and it's like brand new. The lens and the shutter work great, all the seals were replaced, the bellows too and I'm super excited to try it with a roll of film.

Now, my question. The (professional) back that came with the camera, has a small silver lever just under the film winding lever. What exactly does this do ? A little whit arrow showing left is right above that little lever. Does it have to do with double exposure ?

Sorry if my question sounds stupid but for some reason this really troubles me !!

rpavich · May 27, 2016

macgreg said:
Sooooo, my RB67 Professional (not S) just came back from a full service and it's like brand new. The lens and the shutter work great, all the seals were replaced, the bellows too and I'm super excited to try it with a roll of film.

Now, my question. The (professional) back that came with the camera, has a small silver lever just under the film winding lever. What exactly does this do ? A little whit arrow showing left is right above that little lever. Does it have to do with double exposure ?

Sorry if my question sounds stupid but for some reason this really troubles me !!

First...hooray that you have your RB67 back and ready to shoot!
As for the lever, it's the lever that allows you to advance the film.
All I know is the sequence is this:

Cock the shutter (big lever)

Take a shot

Push the tiny lever to the left

Advance the film

Cock the shutter and take another.

PS: there are a few good "walk throughs" on Youtube showing every feature of this camera...just do a search.

macgreg · May 27, 2016

Ok, fair enough. I am reading the manual and it confused me a bit in that part, plus, I don't have the camera right now in front of me so as to check that.

rpavich · May 27, 2016

This is pretty interesting and it helped me

macgreg · May 27, 2016

Btw, the manual describes that little silver lever as the film wind-stop release lever. Which must be moved in the direction of the arrow and then wind the film advance lever. So I guess you are correct !

macgreg · May 27, 2016

rpavich said:
This is pretty interesting and it helped me

That's what he does too on the Pro back. He confused me when he said that he didn't know if that was a defect but after your reply and my reading the manual again, I believe that's the right process.

Thanks for the help !

macgreg · May 29, 2016

This is the focusing screen of my RB. The lines for taking pics in portrait orientation are pretty obvious. Is there a way to mark somehow or know in anyway what are the borders for landscape orientation ? changing screen would be quite expensive right now, at least from what I found on eBay.

rpavich · May 29, 2016

macgreg said:
This is the focusing screen of my RB. The lines for taking pics in portrait orientation are pretty obvious. Is there a way to mark somehow or know in anyway what are the borders for landscape orientation ? changing screen would be quite expensive right now, at least from what I found on eBay.

Thats' weird, mine have the marks two directions; one set for dashed and one solid set.

Praising the RB67 Pro S -- Hail the Emperor of Medium Format

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