Think Of A Mamiya RB67

[MattKing]

or "trade them in for a newer model"

Now John, this isn't the"humour in Photography thread"

 

[Tim Stapp]

Actually, this is good advice for all cameras. Serenity at the time of shutter release (and before and after) pays great benefits.

In shooting, as in photography: this is called "follow through."

 

[Neil Grant]

less reliable?

It's you the hassy guys the ones who have to look up on the internet any of the dozen tutorials on how to to unjam 500-series camera bodies...

... and the only ones who need to buy a special tool to recock the lenses manually if they somehow are outside the body and uncocked.
(Something a RB67 users can do in an extremely simple way by using their fingers).

Not to mention tutorials for removing stuck lenses...

The RB67 was intentionally designed to work out in the field at diverse conditions and climates. The fact that it's japanese, doesn't have "ZEISS" on the lenses, and currently sells for cheap doesn't make it an inferior product to the Hasselbads. If anyrhing, they're intrinsically better designed.

....the RB 67 is the super-reliable. I remember reading that it was designed for a service interval of 50, 000 exposures. Mine has had sporadic use since it's purchase in '82 (sometimes siting around for months on end) I understand that intermittent use like this can be difficult for some of the competition.

 

[ags2mikon]

I know that this is an aging thread but I will add my 2 cents. I have owned an RB67 system since July 1978 that is almost 42 years and I think that is is one of the best systems out there. Is it perfect? No! Is there something smaller and lighter? Maybe. I have gone to the trouble to weigh mine on a good scale and found that it was not that much heaver than anything else I checked. The pentacon 6 with a few lenses weighed more. So did a Bronica S2 with a few lenses. More versatile yes. All of the lenses use a 77mm filter except the 37mm and the 500mm. Take for example the backs they are interchangeable with my Horseman VH-R and vise versa. I also have a Mamiya press with the G back and it works with it. Would you like to have one of the best MF wide lenses on the market? The Mamiya press 50mm is it, just move your Mamiya RB67 back to it and shoot. How about shift lenses? The 65mm on the horseman and your Mamiya RB67 back have you covered. Macro? The built in bellows with the 127mm is about as good as it gets. The 140mm is better but most flea bay cameras come with a 127mm. I have had both the original 127mm and the new “C” lens and could not see any difference. Should have saved my money. The original 250mm is a sonar formula and if you like the sonar look, think early 105mm nikkor you will like it. It is slightly soft in portrait settings but that is ok. The newer “C” is an ernostar formula. It is sharper up close. I have both. Different horses for different courses. The 180mm is stellar. I have no idea why they changed it. I have only had 1 failure in all that time and that was the 180mm shutter. I had used it a lot in the studio, and I bought it used. I think that the repairman told me that the reason it failed was because it was used too much when it was new There is a lot to like about the RB67 and as most system cameras go unless you commit to the system and buy into it you might as well use a fixed lens camera like a Yashica mat or Autocord. There is not much advantage to buying a body, back and 1 lens. Been there and done that. I hope I helped some one here.

....the RB 67 is the super-reliable. I remember reading that it was designed for a service interval of 50, 000 exposures. Mine has had sporadic use since it's purchase in '82 (sometimes siting around for months on end) I understand that intermittent use like this can be difficult for some of the competition.

 

[Sirius Glass]

If you are happy with your camera, there is no reason to change to another. Change for the sake of change, is a waste.

 

[Wayne]

I know that this is an aging thread but I will add my 2 cents. I have owned an RB67 system since July 1978 that is almost 42 years and I think that is is one of the best systems out there. Is it perfect? No! Is there something smaller and lighter? Maybe. I have gone to the trouble to weigh mine on a good scale and found that it was not that much heaver than anything else I checked. The pentacon 6 with a few lenses weighed more. So did a Bronica S2 with a few lenses. More versatile yes. All of the lenses use a 77mm filter except the 37mm and the 500mm. Take for example the backs they are interchangeable with my Horseman VH-R and vise versa. I also have a Mamiya press with the G back and it works with it. Would you like to have one of the best MF wide lenses on the market? The Mamiya press 50mm is it, just move your Mamiya RB67 back to it and shoot. How about shift lenses? The 65mm on the horseman and your Mamiya RB67 back have you covered. Macro? The built in bellows with the 127mm is about as good as it gets. The 140mm is better but most flea bay cameras come with a 127mm. I have had both the original 127mm and the new “C” lens and could not see any difference. Should have saved my money. The original 250mm is a sonar formula and if you like the sonar look, think early 105mm nikkor you will like it. It is slightly soft in portrait settings but that is ok. The newer “C” is an ernostar formula. It is sharper up close. I have both. Different horses for different courses. The 180mm is stellar. I have no idea why they changed it. I have only had 1 failure in all that time and that was the 180mm shutter. I had used it a lot in the studio, and I bought it used. I think that the repairman told me that the reason it failed was because it was used too much when it was new There is a lot to like about the RB67 and as most system cameras go unless you commit to the system and buy into it you might as well use a fixed lens camera like a Yashica mat or Autocord. There is not much advantage to buying a body, back and 1 lens. Been there and done that. I hope I helped some one here.

I presume you were shooting mostly in the studio then if you didn't see a difference between C and non-C lenses? I've not compared because I only have non C lenses but I certainly hope my new 180 C performs better in the outdoors than the non-C lenses

 

[Alan Edward Klein]

I presume you were shooting mostly in the studio then if you didn't see a difference between C and non-C lenses? I've not compared because I only have non C lenses but I certainly hope my new 180 C performs better in the outdoors than the non-C lenses

I believe the C stands for coated. But regardless of the lens, use a lens hood especially in the sun. It will stop glare and coincidentally protect the lens.

 

[Wayne]

I believe the C stands for coated. But regardless of the lens, use a lens hood especially in the sun. It will stop glare and coincidentally protect the lens.

Yes the c means coated. That's why I'd expect a difference under certain outdoor lighting conditions

 

[Neil Grant]

..I think you'll find the 'C' designation means multicoated. These lenses are more resistant to flare than the earlier lenses, simply called 'Mamiya -Sekor' , that were single coated. The C lenses have better colour and contrast and 'hold' their contrast much better against-the-light. 'Outdoors' is generally (or potentially) regarded as 'high flare' and studio as 'low flare'. The difference in quality between the two types of lenses is less obvious in 'low flare, studio' conditions.