What Medium Format Cameras Are Members Here Using?

[miha]

The Silvestri SLV is a revelation and somewhat a learning curve for me (what I like).
It’s a 6x9 with vertical shift, and a Super-Angulon 47 mm 2nd generation with a centerfilter and a Wista roll film back.
The viewfinder is a leather bellows attached on the ground glass and loupe.
I bought it used in Italy.

Congrats. 47 mm must be more or less 21 mm in 135, correct?

 

[warden]

The Silvestri SLV is a revelation and somewhat a learning curve for me (what I like).
It’s a 6x9 with vertical shift, and a Super-Angulon 47 mm 2nd generation with a centerfilter and a Wista roll film back.
The viewfinder is a leather bellows attached on the ground glass and loupe.
I bought it used in Italy.

View attachment 348051

Wow I don’t need it but now I want one! Thanks for sharing that.

 

[SodaAnt]

The Silvestri SLV is a revelation and somewhat a learning curve for me (what I like).
It’s a 6x9 with vertical shift, and a Super-Angulon 47 mm 2nd generation with a centerfilter and a Wista roll film back.
The viewfinder is a leather bellows attached on the ground glass and loupe.
I bought it used in Italy.

What will this camera do that a Technikardan 6x9 won’t do?

 

[Philippe-Georges]

What will this camera do that a Technikardan 6x9 won’t do?

Smaller and somewhat lighter and perhaps simpler. And a little quirky…

 

[AnselMortensen]

500C/M
Bronica ETRSi
Mamiya C330

 

[spb854]

I process all my own BW film and learning to do color and transparencies now.
My favorite format is Medium Format....but I have the following cameras with their lenses:

Medium Format

Ansco Speedex 4.5 (was my parent's)
Seagull Twin Lens
Yashica Mat 124G
Mamiya RB Pro S (2)
Pentax 6x7 (2)
Hasselblad 503 CX
Koni Omega Rapid M
Fujifilm GF670
Noblex Pro 150 (panoramic)

35mm

Nikon F2 (used all through college and was stolen several years later)
Nikon F3 (replacement for F2)
Canon A2E
Pentax K1000
A couple of stereo cameras (Can't remember the brands. Haven't use them yet. LOL)

Large Format

Toyo 4x5
Graflex Pacemaker Speed Graphic

Digital

Canon Rebel Xti (the only digital camera that I have)

Polaroid

Swinger (got in Jr. high school back in the 60's)
A pak camera (can't remember model)
A late model roll film camera (was my Dad's)
SX-70 Sonar
One Step Flash

 

[Sergey Ko]

Medium format only? Here we go:

Pentax 67 (soon for the chopping block)
Bronica ETRSi
Bronica GS-1
Yashica Mat 124G (soon to be sold)
Konica Pearl III
Fuji GA645Zi (soon to be sold)
Linhof Technika III 23
Bronica S (non functional)

I use the two Bronica system the most, and the Konica is super portable. Most of the rest will end up sold.

I'm also Fuji GA645zi user. What is the reason for the sell?

 

[abruzzi]

What will this camera do that a Technikardan 6x9 won’t do?

The Silvestri probably mounts standard graflok 6x9 backs. The Technikardan 23 doesn't--you have to use Linhof's Super Rollex 6x9 backs.

 

[Philippe-Georges]

The Silvestri probably mounts standard graflok 6x9 backs. The Technikardan 23 doesn't--you have to use Linhof's Super Rollex 6x9 backs.

That’s correct, and the design is ingenious and, not in the least, beautiful …
The weight and the dimensions ar about the same as the Hasselblad with the 50mm and, with some fiddling, the Hasselblad’s neck strap will fit.

 

[Brickbird]

Mamiya C220
Rollieflex SL66 (2) with superb 40mm Distagon
Mamiya RZ67

I still have a stash of Panatomic-X 120 and Verichrome Pan 120 used on special occasions and printed on paper from a VERY OLD box of Kodak AZO 11x14.

 

[Alan Edward Klein]

Mamiya RB67
Hasselblad 501CM

Which do you like better and why?

 

[SodaAnt]

Which do you like better and why?

That’s a hard question to answer! I like the bigger negatives from the RB67 and the rotating back to easily switch from landscape to portrait. The Hasselblad is significantly smaller and lighter and easier to carry around and has a higher build quality than the RB.

I like the focusing better on the RB and its better close focusing capabilities due to the bellows. the Hasselblad is faster to use because film advance and shutter cocking are combined, but they’re separate operations on the RB.

RB lenses have standard filter threads making finding filters easy, compared to Hasselblad lenses which use bayonet filters which are both harder to find and more expensive. Bayonet filters are quicker to attach and remove, but I’d prefer standard threaded filters.

Finally, the Hasselblad looks elegant and classy while the RB looks like a big black brute.

If I could only keep one, it would be the RB because the bigger negative trumps all the rest.

 

[Sirius Glass]

That’s a hard question to answer! I like the bigger negatives from the RB67 and the rotating back to easily switch from landscape to portrait. The Hasselblad is significantly smaller and lighter and easier to carry around and has a higher build quality than the RB.

I like the focusing better on the RB and its better close focusing capabilities due to the bellows. the Hasselblad is faster to use because film advance and shutter cocking are combined, but they’re separate operations on the RB.

RB lenses have standard filter threads making finding filters easy, compared to Hasselblad lenses which use bayonet filters which are both harder to find and more expensive. Bayonet filters are quicker to attach and remove, but I’d prefer standard threaded filters.

Finally, the Hasselblad looks elegant and classy while the RB looks like a big black brute.

If I could only keep one, it would be the RB because the bigger negative trumps all the rest.

You failed to mention that carrying an RB requires wearing a truss to prevent hernias.

 

[MattKing]

You failed to mention that carrying an RB requires wearing a truss to prevent hernias.

No, it just needs a bit larger bag, and a slightly better level of fitness.
Although if you buy a few different lenses as well, you probably can afford to carry a lot more film than if you go the route of Hasselblads.

 

[Sirius Glass]

No, it just needs a bit larger bag, and a slightly better level of fitness.
Although if you buy a few different lenses as well, you probably can afford to carry a lot more film than if you go the route of Hasselblads.

Fewer choices of lenses! That is a deal breaker!

 

[MattKing]

Fewer choices of lenses! That is a deal breaker!

11 lenses between 37mm and 500mm.

I was able to make do.

 

[Sirius Glass]

11 lenses between 37mm and 500mm.
View attachment 348285
I was able to make do.

I believe so. Actually it has about the same number of lens focal lengths.

 

[chuckroast]

In five decades of being a passionate photographer, I always had to sell one camera if I wanted to "upgrade". As prices on these older cameras have fallen, I resolved to repurchase every great camera I ever owned in the exact model, color, and accessory set I originally owned. It took about 5 years, but I am more-or-less there. In the Medium Format department, I ended up with:

Hasselblad 501C/M
Mamiya C-220
Mamiya 645
Mamiya Universal w/G back
Fuji GA-645Zi
Fuji GW690II
2x3 "baby" Speed Graphic
Yashica-MAT 124G
And, very occasionally, a Zeiss Maxomar with an uncoated 10.5cm Zeiss Jena lens

Of these, I probably use the baby Speed the most because it packs light even with multiple lenses and backs.

For travel either one of the Fuji's or the Yashica wins.

The Mamiyas are kind of personal atavisms that I shoot now and then to remind myself of how I got here, lo these many years later.

The Hassy is for when I want to pursue the absolutely best possible image quality MF can provide, though it has also been a travel camera when mated with a 60mm Distagon.

Other than the Hassy, I didn't pay significant money for any of these ... well, the Fujis were on the pricey side. I bought old, servicable cameras and learned how to do basic repairs and rehab myself (which has its own rewards).

 

[Alan Edward Klein]

11 lenses between 37mm and 500mm.
View attachment 348285
I was able to make do.

I bought three of my lenses 40 years ago as new. At the prices then, who could afford more than three?

 

[michaelelliottphotog]

I've been relatively restrained in my forays in to medium format. My favourite shooter is my Rolleiflex 2.8E3, recently serviced by the very friendly and reasonably priced Brian Mickleboro (of Thaxted).

My other favourite shooter is the Fujica GL690 with 65mm f/5.6 and 100mm f/3.5 lens (if anybody's on the lookout for a 150mm f/5.6 I've got one going spare, I never use it).

Outside of that, I have a Kiev 60 paired with 50mm f/4 Flektogon, 80mm f/2.8 Biometar, 120mm f/2.8 Biometar and 180mm f/2.8 Sonnar from the Zeiss Jena stable, and an Ivanichek Petzvar (120mm or 150mm, f/3.5, can't remember which). The problem with the Kiev is the weight, even with the tiny 80mm Bm on it.

For shits and giggles I also have a Fuji GA645Zi so I can feel properly on holiday rather than having to use one of the manual focus, manual exposure thingiebobs. Apart from the 690 it's the only other camera I've got that can shoot 220 roll film (and a roll lasts forever in it).

I do use all of them on and off, though the RF and the 690 get the most whack.

My wife has a Bronica ETRS which I got her as a present, but has little time to use it.

 

[chuckroast]

I bought three of my lenses 40 years ago as new. At the prices then, who could afford more than three?

Ha. About 20 years ago, I'd pieced together a Hassy system with only the camera/back/80mm being new - purchased on some promotion or another. The other lenses I had were bought used, some were Cs, some T*s and so on.

At one point, I had the whole kit stolen. I fortunately had replacement insurance on the whole lot. When I explained to my insurance agent that most of the stuff had been bought used and/or was older, he told me "you paid for replacements and you will get brand new everything". Sadly, that insurance company ceased doing business in my area and I had to change providers.

There's a footnote to this. In order to get new stuff, I had to prove ownership of the stuff that was stolen. I had receipts for everything except the 40mm C Distagon. However, I managed to find a CLA receipt for it from Gil Ghitleman which was accepted as proof. Keep your receipts!

 

[Sirius Glass]

Ha. About 20 years ago, I'd pieced together a Hassy system with only the camera/back/80mm being new - purchased on some promotion or another. The other lenses I had were bought used, some were Cs, some T*s and so on.

At one point, I had the whole kit stolen. I fortunately had replacement insurance on the whole lot. When I explained to my insurance agent that most of the stuff had been bought used and/or was older, he told me "you paid for replacements and you will get brand new everything". Sadly, that insurance company ceased doing business in my area and I had to change providers.

There's a footnote to this. In order to get new stuff, I had to prove ownership of the stuff that was stolen. I had receipts for everything except the 40mm C Distagon. However, I managed to find a CLA receipt for it from Gil Ghitleman which was accepted as proof. Keep your receipts!

I bought my Hasselblad equipment between 2007 and 2011 when the market was overloaded with equipment being dumped by professional photographers. I got everything on fire sale prices.

 

[chuckroast]

I bought my Hasselblad equipment between 2007 and 2011 when the market was overloaded with equipment being dumped by professional photographers. I got everything on fire sale prices.

Say "someone" owns a 40mm FLE, 60mm, 80mm, 120mm, 180mm, and 250mm - all CF or CFi. Now that prices are really in the tank, is it wrong them to lust after a 50mm FLE? I wonder how much one would use it rather than the 40 or 60.

Asking for a friend...

 

[Nokton48]

I have the 40mm C and 60mm C, so I just added the 50 C just today, so I have something in between.
Makes perfect sense to me. I sold mine off a while back, new CFV16 Digital Back makes the 50 C more useful, so there.

 

[Steven Lee]

Let's see:

1. Hasselblad 503cx. The crown jewel of my collection. This camera is perfect for me because it executes brilliantly in areas that I deeply care about. For example: haptic and acoustic feedback. Everything is positioned where I need it to be and feels just right to touch: the focus rings, the buttons, the leather. It makes an amazingly satisfying sound when a photo is taken or film is advanced. A Hasselblad is extremely engaging to use. I even shoot blanks when I can't find any time for real photography. Of course it uses the perfect negative format: the square. People who need an explanation for why, are not getting it here. Yes, the lenses are all fantastic optically and there's a strong sense of continuity and consistency: optical qualities, the feel, filter sizes across lenses are mostly the same. Also I must mention the vast array of accessories for all kinds of use cases, to this day I continue to discover new Hasselblad toys every once in a while. Still not convinced? Well, consider that it's the only MF film camera that is of metal+leather construction, relatively recently manufactured, of fully mechanical construction, and still serviced by Hasselblad! And finally, it is stunning visually. From the industrial design perspective it's a masterpiece. I've been investing more and more into this platform over the years, amassing two bodies, 4 backs, and every lens produced within the 50-250mm range. To this day I can't believe someone designed a camera so perfectly suited to my personal quirks and idiosyncrasies. Yes, it has its flaws but they happen to be something don't care too much about:
   • Cannot remove the viewfinder with the back attached
   • There's no dedicated shutter button lock, you must use the dark slide
   • The default WLF magnifier is 0, not -1 like on pretty much every other camera. They fixed this in 203FE though.
2. Mamiya C330s. This was my 1st medium format camera, so I kept it for the sentimental value. But over time I got to appreciate its toughness and value. My kit was a few hundred $. I can service the lenses myself. I bet I can figure out how to service the body as well. When I am headed into rough shooting conditions (sea salt, fine sand, etc) it goes with me. It's my Jeep of medium format cameras. Plus, the Mamiya TLRs have the highest engagement factor of all TLRs I've tried. Probably this has something to do with the ergonomic any-hand focusing and the first-class focusing screen. The lenses are inconsistent though. They feel (and they are) as if they came from different eras. I own the 55, 65, 80, 135 and 180mm. In terms of sharpness I have zero complaints, but the coatings are not the same. The 80mm is modern and fairly flare-resistant, while the 55mm is extremely prone to flare.
3. Rolleiflex 3.5F and 2.8F. Some time ago I decided to get a lightweight medium format camera and ditch the 35mm. Having been generally disappointed by medium format rangefinders I started looking at classic portable TLRs. I have mixed feelings about Rolleiflexes. I admire their industrial design and build quality, but no matter how hard I try I can't get used to their ergonomics. Having the shutter button on one side and the focus knob on another does not work for me. I have to switch hands between focusing and firing. While I appreciate the ergonomic placement of the shutter and aperture dials, I am yet to find a Rolleiflex where these dials are properly/similarly weighted and have the right amount of being clicky: some are a bit too stiff, while others are too loose. I've tried many, and they all required too much concentrated effort to select the desired f-stop or shutter speed. My cameras are serviced by Kanto Camera in Japan and Mr. Fleenor, so it's not a CLA issue. Optically they are both perfect, of course. I've been taking them on trips since I acquired them, but lately I've been gradually shifting back to traveling with my Hasselblad with the 60mm lens. Will never sell them though. They will remain my most portable MF cameras with amazing lenses.
4. Rolleiflex 4.0 FW. This was my latest attempt at getting into the Rolleiflex fanboi club, thinking that maybe I just need a wider standard lens. Well, turns out that's not the case. All of ergonomic woes of the classics are fully replicated here. A Rolleiflex is just not as exciting to shoot as a Hasselblad or a Mamiya TLR. On top of that the FW is not as easy to focus as its 75/80mm counterparts due to the wider and slower lens (larger DOF). It also annoys me how expensive it is. Mine was new old stock purchased from a German seller on eBay. I overpaid. The buyers remorse is still hunting me. It will be the first camera I sell on this list, and the only one I'll lose money on.
5. Mamiya 645 Pro TL. This was my 2nd medium format camera, my precursor to the Hasselblad awakening. At the time I was happily shooting with the Mamiya TLRs and wanted something faster with the aperture priority mode. I own every lens in the 55-150mm range for it and the lenses feel as consistent and optically excellent as the Hasselblad line. From the engagement perspective, the camera has too much plastic to be enjoyable in hand. The shutter release button is mushy. It was designed at the unfortunate period when mechanical objects were getting out of style, but the world hasn't learned how to build engaging electronic replacements yet. But the TL deliveres on its promise when I need to run&gun with the medium format. With a grip it feels very similar to my old Canon DLSR kit. Unfortunately for it, over time I have rediscovered my love for compact 35mm cameras. Between them and a Hasselblad, there's very little room left for needing a 645 negative. I haven't used mine in over a year. It will be the 2nd camera on this list to be sold.
6. Bronica GS-1. This was an impulse buy last year when I saw a great deal. Besides, I've always been flirting of an idea of a bigger negative than 6x6. Regardless of the deal I got the GS-1 system in general currently represents the best value in medium format in my opinion. You've got fantastic glass, recent construction (can still buy unused old stock units that function perfectly), a built-in meter with aperture priority, and pretty good build quality. When used with the AE prims and a grip, you can shoot very quickly with it burning through hundreds of dollars worth of film! This camera wants to be loved, but it has too many ergonomic blunders for me. It starts with the lenses turning in the wrong direction. Add a mushy shutter release button, similar to the Mamiya 645. Then the MLU does not return after a shot, so if you don't lower the mirror manually before advancing - you lose a frame. Moreover, the MLU button is placed in the spot where all other MF SLRs have the lens release button. And just like the Mamiya 645 TL, it sports the idiotic 3.5mm electric shutter release instead of a standard threaded one. This will be the 3rd camera on this list to get rid of.

TLDR: The Hasselblad is the perfect camera of course, followed by the Mamiya TLRs and Rolleiflexes. Everything else was mostly failed experiments fueled by GAS outbreaks that happen to appreciate in value faster than S&P500, so I'm keeping them.