tell me about the RB67
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A more detailed explanation of what you mean by this could get at the root of my original question. "So tell me why should I want one...what are they good for..."
Oops, I see you already addressed this further down.
I repair them and can tell you they are very well made. The lenses are all excelent quality. I'd say this camera was built to last forever with enough adjustment room in the mechanisms to take up the slack for more than a lifetime of heavy use. "Built like Russian tanks" is the saying and justly so.
As with any camera, handeling it with respect and never forcing it if for any reason if it jams is key. Jams are generally user error and repairs are a result of this in an effort it to overcome the jam. If it doesn't fire, stop and think before cranking harder on the lever. You forgot to take the dark slide out, revolving back may not be clicked in, your hand is leaning on the little silver tab oin th e side of the rev back, lens was put on wrong, but they don't drop dead for no reason at all aside from lonelyness. This camera want to be used but treated like a lady.
With prices so low, how can you not get one?
.
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As with any camera, handeling it with respect and never forcing it if for any reason if it jams is key. Jams are generally user error and repairs are a result of this in an effort it to overcome the jam. If it doesn't fire, stop and think before cranking harder on the lever. You forgot to take the dark slide out, revolving back may not be clicked in, your hand is leaning on the little silver tab oin th e side of the rev back, lens was put on wrong, but they don't drop dead for no reason at all aside from lonelyness. This camera want to be used but treated like a lady.
With prices so low, how can you not get one?
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Go for one, Wayne. I bought a RB67 3 years back, and having more money than sense, I followed that up by buying an RZ67. They are beautiful cameras. Very solid, and if you can find one which has been owned 'privately' rather than by a professional, then it should last you until doomsday. I have used mine 'handheld' but it takes getting used to the image in the viewfinder being the 'wrong' way.When you should move the lens to the left, you tend to go to the right, and vice versa. But having said that, when I have it on a tripod, that conflict does not seem to crop up. Still using various 35mm cameras, but med format is something different. The Mamiyas- RB and RZ were in the region of £1600-2000 when new, for about one fifth of that price now, you cannot go wrong.
You are more of a man then me, I still use a tripod even at 400 speed film!
Jeff
Delta 3200 120 is good too
As someone reasonably new to medium format (coming from 35mm and the electronic format) i can honestly say buying my RB67 Pro-S was probably the best photographic purchase i've ever made.
Here was my decision-making process which led me to the Mamiya RB67.
I wanted to slow my photography way down and yet increase the image-quality exponentially over my 35mm gear (meaning medium format and larger). Right away i knew i would only choose a camera which was of professional build quality - this is always my 1st requirement. My friend has a Mamiya RB67 and i was impressed with it and the quality of his photos (OK, some of this came from his developing/printing ability as well, but you can't get diamonds from pigs) so the search was on!
I realized i wanted to a film format which was not too inconvenient - so that meant roll film (and excluded large-frame/sheet film). Nor did i want a camera too cumbersome to carry/use (i.e. i still wanted to be able to hand-hold the camera). That also removed large-format from the option list. So, the largest *reasonably* useable format was 6x7cm (i know there are other 6x_____ formats and the RB67 can do most of them). Finally, i wanted a camera which used interchangeable lenses and as i began learning more, had a significant array of accessories (aka modularity). So i started searching for 6x7cm SLR cameras having learned a range-finder camera simply wouldn't meet the modularity criteria.
My 1st impressions of the RB67 were starting to be corroborated with my research results!!!
After reading hundreds of comparisons btw Hassy and Mamiya (to ascertain lens/image quality potential), i realized at this level of camera, image/lens quality was more of a 'Mercedes vs BMW' argument. Both cameras are superb - it's the 'driver' that really makes the difference (no different than 35mm in this regard).
Ultimately, my conclusion is that the Mamiya RB67 System is utterly professional. It was designed, built-for and primarily used by professional photographers. I will *never* use my camera as much as someone who works w/theirs for a living and if it's *good enough* for professional work, it's doggone sure good enough for me.
There are 11 Pro-S lenses (more if you add the later K/L variants), 4 different Pro-S backs for the revolving adapter (actually more if you use the "P" adapter), 5 different view-finders, 6 different focus screens (more if you count 'after-market providers), 2 auto-extension tubes for macro (though the bellows rack allows for some pretty nice 'almost marco' photography), various grips and flash brackets.
Honestly, i can't overemphasize the value of the RB67 *revolving back*. To be able to go from landscape to portrait orientation and not have to change my hold on the camera or tripod position is invaluable.
So, there's my publication on the merits of the Mamiya RB67 - hth your decision.
Here was my decision-making process which led me to the Mamiya RB67.
I wanted to slow my photography way down and yet increase the image-quality exponentially over my 35mm gear (meaning medium format and larger). Right away i knew i would only choose a camera which was of professional build quality - this is always my 1st requirement. My friend has a Mamiya RB67 and i was impressed with it and the quality of his photos (OK, some of this came from his developing/printing ability as well, but you can't get diamonds from pigs) so the search was on!
I realized i wanted to a film format which was not too inconvenient - so that meant roll film (and excluded large-frame/sheet film). Nor did i want a camera too cumbersome to carry/use (i.e. i still wanted to be able to hand-hold the camera). That also removed large-format from the option list. So, the largest *reasonably* useable format was 6x7cm (i know there are other 6x_____ formats and the RB67 can do most of them). Finally, i wanted a camera which used interchangeable lenses and as i began learning more, had a significant array of accessories (aka modularity). So i started searching for 6x7cm SLR cameras having learned a range-finder camera simply wouldn't meet the modularity criteria.
My 1st impressions of the RB67 were starting to be corroborated with my research results!!!
After reading hundreds of comparisons btw Hassy and Mamiya (to ascertain lens/image quality potential), i realized at this level of camera, image/lens quality was more of a 'Mercedes vs BMW' argument. Both cameras are superb - it's the 'driver' that really makes the difference (no different than 35mm in this regard).
Ultimately, my conclusion is that the Mamiya RB67 System is utterly professional. It was designed, built-for and primarily used by professional photographers. I will *never* use my camera as much as someone who works w/theirs for a living and if it's *good enough* for professional work, it's doggone sure good enough for me.
There are 11 Pro-S lenses (more if you add the later K/L variants), 4 different Pro-S backs for the revolving adapter (actually more if you use the "P" adapter), 5 different view-finders, 6 different focus screens (more if you count 'after-market providers), 2 auto-extension tubes for macro (though the bellows rack allows for some pretty nice 'almost marco' photography), various grips and flash brackets.
Honestly, i can't overemphasize the value of the RB67 *revolving back*. To be able to go from landscape to portrait orientation and not have to change my hold on the camera or tripod position is invaluable.
So, there's my publication on the merits of the Mamiya RB67 - hth your decision.
Last edited by a moderator:
Fmajor, good report. But the Revolving back is not unique to this system 
removed-user-1
I've owned two RB67 cameras. After I sold the first one I was somewhat heart-broken and soon got another (actually two broken ones which became one working camera). Because of the built-in bellows, the RB is great for macro; I do a lot of plant closeups. Right now I only have the huge 100-200mm zoom lens. I got the zoom so I could do portraits without having to change lenses. This lens should come with a cradle; that attaches to the bottom of the camera, which holds the lens. Strongly recommended for the 100-200mm, I wouldn't buy the zoom without this part. For macro work I'd prefer the 127mm and sometimes an extension tube. Very wonderful camera!
I love shooting with the RB67.. just spent a couple of hours practising with extension tube and the polaroid back. I can't recommend the polaroid back too highly.. it's just such fun to use, and appears to be some sort of magic or alchemy to those too young to remember polaroid the first time round.
My first thought when heading out to shoot is always now, "could I be using the RB for this?". And the only time the answer is "no" is when I specifically need a digital result quickly (sorry, it might be heresy but for website work I find digital easier for a quicker workflow) or if travelling lightweight is a priority (in which case it's either 35mm compact or a folding 120).
My first thought when heading out to shoot is always now, "could I be using the RB for this?". And the only time the answer is "no" is when I specifically need a digital result quickly (sorry, it might be heresy but for website work I find digital easier for a quicker workflow) or if travelling lightweight is a priority (in which case it's either 35mm compact or a folding 120).
Heresy but you can get digital backs for the RB67. I prefer the Polaroid backs but I was laughed out of the room last time I suggested it so I must be a glutton for punishment...
Harry, that guy was an angry internet dwarf know-all. I got a polaroid back for mine but keep forgetting to buy a pack of film for it.
I find using and focusing my RB hand held is much easier than using my 500C which I recently purchased. I can hand hold down to 1/125 with TMY pretty easily in most daylight situations. The rack and pinion focusing on the RB is more accurate and faster than either my Hasselblad or my Mamiya 645's. I guess personal preference has a lot to do with it.
Boy, have you come to the wrong place.
You should check the light seals.
No one has mentioned the light seals on the RB's. I replaced my own on the film back, but plan to send the camera in for a replacement of the mirror cushion pad or whatever you call it. The factory and replacement part for the seals is a foam rubber, but I replaced mine with felt. The advantage is that felt doesn't turn into a gummy mess over time. However, some will not recommend it. Anyway, I have two RB67 Pro-S's and love them both. I might some day dump one of them, but hope to keep the other till they pry my cold dead hands off of it. I can get 120 film developed cheaper per print than 35mm, but have about 15 rolls of 35mm to use up, but after that the RB will be the camera of choice and the 35mm will be used less and less. I'd buy one, try it for a time and if you don't like it, sell it on that big auction place, or CL. They always sell. Ric.
No one has mentioned the light seals on the RB's. I replaced my own on the film back, but plan to send the camera in for a replacement of the mirror cushion pad or whatever you call it. The factory and replacement part for the seals is a foam rubber, but I replaced mine with felt. The advantage is that felt doesn't turn into a gummy mess over time. However, some will not recommend it. Anyway, I have two RB67 Pro-S's and love them both. I might some day dump one of them, but hope to keep the other till they pry my cold dead hands off of it. I can get 120 film developed cheaper per print than 35mm, but have about 15 rolls of 35mm to use up, but after that the RB will be the camera of choice and the 35mm will be used less and less. I'd buy one, try it for a time and if you don't like it, sell it on that big auction place, or CL. They always sell. Ric.
I think that digital backs for the RB67 are pricey.
Jeff
Jeff
Having owned 2 of these beauties and rueing the days I sold both of them, I say go for it. You will find little things that you don't much like about the RB..... not much, mind you and not big stuff, but some little stuff, and you will mostly be very glad you have the camera. Get a 127mm lens. For close ups it is the best. Use it and love it. It will never let you down.
Logan
Logan
I know, but Brad did try. The rest of you haven't been much help in talking me out of it though.
Hi Roger,
The advantages of the RB over a view camera, as I see them.
-Can be held in the hand easily (good for portraits).
-Can focus rapidly
-Can shoot rapidly
-Rollfilm convenience (sure you can use it on view cameras too, but see above).
-Prism finders can be used
There are probably other advantages also.
All of the above equate to general convenience and ease for me. The only view camera I use, though, is a bigger monorail so I guess I can't speak for someone using a light field camera.
Tom.
"Hand held easily" I guess depends on perspective or what one compares it to. I've seen RBs but never used one, much less tried to hand hold one. Didn't look that hand holdable. Workable, sure - so is putting an outboard on a bathtub and calling it a motorboat, but it won't compete with a cabin cruiser.
Seriously, I see these and other points. I'd almost be tempted to buy one and play with it and see if I liked it, if I didn't already have cameras and other spending priorities, including a lighter (and less broken - my old Tech III is workable but with some hassle factor from various bits not being quite right any more.)
This thread is strangely lacking in picture to try and inspire the OP, let me try and change that 
If you like careful, considered photography - but with the option of far greater spontaneity than what is possible with your 4x5in camera - the RB67 is probably the best cameras system ever made, and a steal at current prices. Forgive me if I gush a bit, but few people seem to understand the greatness of this system.
I shoot both 35mm (Olympus OM, Leica), and 4x5in (Linhof Technika V) but I keep on coming back to the versatile RB67. I find the C-series and K/L-series Sekor lenses extraordinarily good, even when compared to my Zuiko and Schneider lenses. This is a camera for serious artists (as opposed to posers who buy jewel-like Swedish cameras just for the coolness factor). Mine is a very old first-series model (actually produced in the first year of production) and I just can't kill it.
If you don't mind the weight, the RB67 can be hand-held down to ridiculously slow shutter speeds because of the heavy weight, and the leaf-shutter lenses. I have very sharp images made at 1/8s hand-held, such as this one (ISO 100 film, night time):
The C-series lenses have some kind of magic coating that almost makes them impervious to secondary reflections when you point them straight into the sun. Especially the 65mm f/4.5 is absolutely extraordinary. Because of the bellows focusing, without any special equipment whatsoever, you can take 1:1 or better Macro images with the 50mm wide angle (if you don't mind field curvature, that is!). Oh, and almost all the lenses have floating elements to correct for close-up imagery. I simply placed my camera on the beach sand for this one:
The 140mm C-series Macro is a bit rare, but not expensive, and superior to any Canon or Zeiss general-purpose Macro that I have ever used. In this image, the bright afternoon sun is shining straight onto the front element, and it's shot wide open. My ex-Canon EF 100mm f/2.8 or Zuiko 90mm f/2.0 hazes like crazy in this sort of extreme harsh light. The in-focus areas show lucid resolution and contrast, right down to film-grain level:
Two more wide-angle images:
(All the monochrome images above are scanned prints that I made in the darkroom)
While not as special as 4x5in negatives (which I inherently prefer) there is no denying that one has at least half the outright quality, on convenient rolls of 10 images each, which are pain-free to develop compared to the everlasting battle for evenness with 4x5in.
If you value your craft (and as a 4x5in shooter in this day and age, I am almost assured that you do) the RB67 is a cantankerous, charismatic, versatile maker of masterpieces. People classify it as a "studio camera" because of the weight, but if you take it out, it will show its true colours.
I purchased my kit four years ago (RB7 body, five lenses, several acessories) for about $600 - all because some pro thought a Canon digital rebel would make him happier. Then again, for commercial (volume) work, he might just be right. His loss!
If you like careful, considered photography - but with the option of far greater spontaneity than what is possible with your 4x5in camera - the RB67 is probably the best cameras system ever made, and a steal at current prices. Forgive me if I gush a bit, but few people seem to understand the greatness of this system.I shoot both 35mm (Olympus OM, Leica), and 4x5in (Linhof Technika V) but I keep on coming back to the versatile RB67. I find the C-series and K/L-series Sekor lenses extraordinarily good, even when compared to my Zuiko and Schneider lenses. This is a camera for serious artists (as opposed to posers who buy jewel-like Swedish cameras just for the coolness factor). Mine is a very old first-series model (actually produced in the first year of production) and I just can't kill it.
If you don't mind the weight, the RB67 can be hand-held down to ridiculously slow shutter speeds because of the heavy weight, and the leaf-shutter lenses. I have very sharp images made at 1/8s hand-held, such as this one (ISO 100 film, night time):
A recursion of misplaced values
(Fuji Provia 100, Sekor-C 65mm @ f/4.5)
(Fuji Provia 100, Sekor-C 65mm @ f/4.5)
The C-series lenses have some kind of magic coating that almost makes them impervious to secondary reflections when you point them straight into the sun. Especially the 65mm f/4.5 is absolutely extraordinary. Because of the bellows focusing, without any special equipment whatsoever, you can take 1:1 or better Macro images with the 50mm wide angle (if you don't mind field curvature, that is!). Oh, and almost all the lenses have floating elements to correct for close-up imagery. I simply placed my camera on the beach sand for this one:
Dune Bug
(Ilford FP4+, Sekor-C 50mm @ f/22.0, 1s exposure)
(Ilford FP4+, Sekor-C 50mm @ f/22.0, 1s exposure)
The 140mm C-series Macro is a bit rare, but not expensive, and superior to any Canon or Zeiss general-purpose Macro that I have ever used. In this image, the bright afternoon sun is shining straight onto the front element, and it's shot wide open. My ex-Canon EF 100mm f/2.8 or Zuiko 90mm f/2.0 hazes like crazy in this sort of extreme harsh light. The in-focus areas show lucid resolution and contrast, right down to film-grain level:
Undergrowth with a view
(Ilford FP4+, Sekor-C 140mm @ f/4.5)
(Ilford FP4+, Sekor-C 140mm @ f/4.5)
Two more wide-angle images:
Dry and Drying
(Ilford HP5+, Sekor-C 37mm @ f/16)
JB's Corner (Melrose arch)
(Ilford HP5+, Sekor-C 50mm @ f/11)
(Ilford HP5+, Sekor-C 37mm @ f/16)
JB's Corner (Melrose arch)
(Ilford HP5+, Sekor-C 50mm @ f/11)
(All the monochrome images above are scanned prints that I made in the darkroom)
While not as special as 4x5in negatives (which I inherently prefer) there is no denying that one has at least half the outright quality, on convenient rolls of 10 images each, which are pain-free to develop compared to the everlasting battle for evenness with 4x5in.
If you value your craft (and as a 4x5in shooter in this day and age, I am almost assured that you do) the RB67 is a cantankerous, charismatic, versatile maker of masterpieces. People classify it as a "studio camera" because of the weight, but if you take it out, it will show its true colours.
I purchased my kit four years ago (RB7 body, five lenses, several acessories) for about $600 - all because some pro thought a Canon digital rebel would make him happier. Then again, for commercial (volume) work, he might just be right. His loss!
"Hand held easily" I guess depends on perspective or what one compares it to. I've seen RBs but never used one, much less tried to hand hold one. Didn't look that hand holdable. Workable, sure - so is putting an outboard on a bathtub and calling it a motorboat, but it won't compete with a cabin cruiser.
Seriously, I see these and other points. I'd almost be tempted to buy one and play with it and see if I liked it, if I didn't already have cameras and other spending priorities, including a lighter (and less broken - my old Tech III is workable but with some hassle factor from various bits not being quite right any more.)
I'm very muscular
I'm only guessing, but I think even considering the weight, the RB would be more convenient than the Linhoff handheld...
Great shots and fabulous image quality philo! Very convincing.
So what should I look for when I look at these next week. I'll check the models to see if they are Pro, Pro S or Pro SD. Anything in particular I should watch out for? Whats the difference in C, K/L lenses? Based on the huge number of these I see on Craigslist now...and they don't seem to be jumping off the shelves...I dont think $150 is too insulting of a price for one of them, maybe a little more if he throws in an extra lens or other goodies. He said he'd rather they go to someone who uses them rather than someone who will just resell them or ship em to China, so he's not out for top dollar.
So what should I look for when I look at these next week. I'll check the models to see if they are Pro, Pro S or Pro SD. Anything in particular I should watch out for? Whats the difference in C, K/L lenses? Based on the huge number of these I see on Craigslist now...and they don't seem to be jumping off the shelves...I dont think $150 is too insulting of a price for one of them, maybe a little more if he throws in an extra lens or other goodies. He said he'd rather they go to someone who uses them rather than someone who will just resell them or ship em to China, so he's not out for top dollar.
Agree completely with Philosomatographer.
I also find hand holding very workable, I really like a monopod with this camera. (Actually, I like a monopod with anything under 4x5.)
I have two RBs now, that have obviously seen lots of use in their lives, brassing and the like. One bought from a local guy, one from KEH.
Was going to buy the whole thing from the local guy but his shutter wouldn't fire so skipped his lens. The camera simply had not had any exercise in to many years and it froze. Body was fine with new foam, I'd plan on doing new seals and the like, they aren't expensive.
Look for non-crunchy operation, the RB requires full and firm motions. If you don't do things all the way the camera will patiently wait for you to finish. These are industrial grade machines, they are designed deliberate and purposeful operation.
When I first got the camera every problem I had was my own fault, mostly being too gentle.
Look for good fit of all the various parts. The finder and backs and lenses should all fit nicely. The RB is truly stout but also very well fit. Nothing should need to be forced to get it on or off the camera.
There aren't that too many but you gotta know the rules. For example the lenses have to be cocked to get them on or off the camera and I'm sure you've never pulled a film holder without putting the dark slide back in, but Mamiya thought there were some of us who would mis that on occasion, so the RB has an interlock that keeps you from taking off the back until you insert the dark slide.
I also find hand holding very workable, I really like a monopod with this camera. (Actually, I like a monopod with anything under 4x5.)
I have two RBs now, that have obviously seen lots of use in their lives, brassing and the like. One bought from a local guy, one from KEH.
Was going to buy the whole thing from the local guy but his shutter wouldn't fire so skipped his lens. The camera simply had not had any exercise in to many years and it froze. Body was fine with new foam, I'd plan on doing new seals and the like, they aren't expensive.
Look for non-crunchy operation, the RB requires full and firm motions. If you don't do things all the way the camera will patiently wait for you to finish. These are industrial grade machines, they are designed deliberate and purposeful operation.
When I first got the camera every problem I had was my own fault, mostly being too gentle.
Look for good fit of all the various parts. The finder and backs and lenses should all fit nicely. The RB is truly stout but also very well fit. Nothing should need to be forced to get it on or off the camera.
There aren't that too many but you gotta know the rules. For example the lenses have to be cocked to get them on or off the camera and I'm sure you've never pulled a film holder without putting the dark slide back in, but Mamiya thought there were some of us who would mis that on occasion, so the RB has an interlock that keeps you from taking off the back until you insert the dark slide.
.
I'm ready to dump The 500C, and The F3 with MD4, and MF4 Back.
And get an RB67, I've always admired them from a distance, but the
ridiculously low prices are extremely tempting !
Ron
.
I'm ready to dump The 500C, and The F3 with MD4, and MF4 Back.
And get an RB67, I've always admired them from a distance, but the
ridiculously low prices are extremely tempting !
Ron
.
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