Those are great, Jeremy! I don't have the skill to get anything like that out of my RB yet. Well done.And here's a few pics taken with the RB67 with 35mm filmView attachment 242984 View attachment 242984 View attachment 242985
@Jeremy Mudd Very nice! You managed to show the on-the-bridge shot twice, but the magnificent waterfall shot couldn't hide by slinking down there in the thumbnails at the bottom of the post...
Maybe for 35mm panorama street photography I would need some other camera
True. IMO, however, it's easier to load and unload (and you can unload in the light) if you use cassette-to-cassette with leaders on both ends. There's room inside a standard 135 cassette for 40+ exposures, one leader or the other need not be in the cassette at loading and unloading. The tail needs to be carefully sized to preventing happily shooting on the (non sensitized) tail leader -- but if you're using a camera made for 220, you can control this by loading only 36 exposures lengths of 35 mm into your cassettes. And unlike rolling the 35 mm film completely into a 120 backing roll, you don't have to do any precision alignment in the dark; you can do everything you need with a bulk loader (or two cassettes in a changing bag, if you're using film stock you can't buy on bulk rolls).You really only need one set of adapters. You can tape the lead to some used 120 paper leader.
I just purchased grip handle for my RB67. Also attached the prism finder that I previously had. 90mm lens.
It weights 3.9kg (8.59 pouds) with that setup.
Holy crap that is heavy. I'm not a weak arm but still I can count seconds how long I can keep the camera steady with one arm. Maybe for 35mm panorama street photography I would need some other camera
The grip plus a WLF and a shortened neck strap works quite well.I just purchased grip handle for my RB67. Also attached the prism finder that I previously had. 90mm lens.
It weights 3.9kg (8.59 pouds) with that setup.
Holy crap that is heavy. I'm not a weak arm but still I can count seconds how long I can keep the camera steady with one arm. Maybe for 35mm panorama street photography I would need some other camera
The grip is on my "must get" list for my RB67. I've got a side grip around, though, I might give it a try out before spending money on the specific Mamiya accessory. Got a neck strap for it that I haven't even unwrapped yet (ordered it right after the last time I had the camera out). If there's money left from my darkroom project, I hope to get the 65 mm and 50 mm lenses, then save up for the longer ones. A 50 mm on 24x67 frame should be spectacular.
Say, will an RB fire the mirror with no lens attached? If so, a pinhole body cap might be fun (not very wide angle, but body caps are much cheaper than wide angle lenses).
Hi Jeremy,I own a GX617 but often am shooting panos with my RB67 due to not having to lug around a 1-trick pony like the GX617.
Some more thoughts on this subject here:
https://www.jeremymuddphoto.com/blog/2020/3/4/how-to-35mm-panoramic-film-images
Jeremy
Hi Jeremy,
Your shots are great. I read a bit of your blog on the subject (excellent job!). Just so you know, the 120 backs work just fine for this application... sharp as a tack. There may be issues if you are shooting close up and wide open, but I’ve never had a problem using standard 120 backs.
Well, here's the thing. A 65 mm lens isn't too expensive, even a 50 mm is more or less in reach -- but the last 37mm I saw for RB67 was something like $1500. That won't happen any time soon. I'm blowing my wad on getting the contractor work done on my darkroom..
That's a good idea, and I may try it if I can get over my bout of laziness. If I had to guess, I would say changing the plate is necessary for critical focus when shooting close and wide open. I actually use a 220 back sometimes on my 500cm when shooting 120, with no problems - even when pixel peeping. Or is it called grain peeping?Thanks!
I would be curious to see a side-by-side test of the same images shot with a 220 and a 120 back. I totally understand what you are saying, and have heard that sometimes from others, but I've never shot it in a 120 back.
Given that other cameras (like my GX617, C220 and Kowa Six) that can shoot both 120 and 220 require an adjustment or turn of the pressure plate to switch between the two films due to the difference in backing paper versus no backing paper as it relates to film plane - I wonder if there has to be a perceivable difference in sharpness between using a 120 and 220 back.
This could be fun just to try out as a project. I've got a stockpile of Pro-Image 100 film in 35mm. I may load a roll each in a 220 and 120 back and shoot identical images with the same RB67 ProSD body/lens combo on a tripod and see how they perform. I can develop them both at the same time in my Paterson tank to eliminate any possible developing differences and do identical scans with the same settings for each.
You're probably correct but it would be interesting to quantify it.
Jeremy
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