Yashica mat viewing lense f3.2 vs f2.8

[Paul Howell]

So, in terms of bulkiness, the Mamiya C330 is bulkier than the Hasselblad 500 CM.

OP has not mentioned C330 oe 220, Rolleiflex with 2.8 or Yashica with either 2.8 or 3.2 taking lens. And the C330 has parallax compensation.

 

[RezaLoghme]

The discussion emerged from a post made by Guangong about a C330 being the right camera if interchangeable lenses are important. I replied that when comparing like for like, a 500CM is lighter, more compact etc.

Yashica mat viewing lense f3.2 vs f2.8

Hi I was wondering if there was a marked difference in screen brightness between a viewing lens of f3.2 vs f2.8, I jumped in and bought a Yashica Mat with f3.2 before realising that f2.8 was available in the non g version. Thanks Ben

www.photrio.com

Guangong also stated that the Rollei TLRs are a step up in quality compared with other TLRs, and it might be worth saving for the right camera.

I agree with him, based on my experiences and (wrong) decisions in life. Whenever I tried to take a shortcut to happiness, I got disappointed in the long run. Very often good things that last long and are of high quality have (and keep) their price. Cheaper things usually incur one or more trade-offs.

In the case of film cameras, the initial purchase price does not matter so much, looking at the total cost of ownership. And the factor of enjoyment comes into play, otherwise we would all drive a Lada Niva and wear a Timex on our wrist.

 

[guangong]

Why would you chose a 6x6 TLR (with parallax error etc) over a 6x6SLR? In addition to being able to change lenses, most 6x6 SLR systems also have interchangeable film backs, and generally a much wider range of accessories.

And portability, often a reason to chose a Rolleicord over a 6x7 RZ, is a moot point when looking at the rather un-compact Mamiya C series (as noted by many reviewers).

I use both TLR (Rolleiflex);and SLR (Hasselblad). Both for over 50 yrs. Each has its advantages and shortcomings. I also use RF (folders, Medalist).
One example: my Rollei 2.8F is much more discreet than my Hassy, and in many situations, even a folder. I find action shots easier with my Rollei than with my Hassy. Of course, your experience may be different. Or you may prefer more static subjects.

 

[MattKing]

My C330 with one lens is bigger than my Mamiya 645 Pro with one lens.
My C330 with two lenses is smaller than my Mamiya 645 with two lenses.
If you substitute a Hasselblad 500 series camera for the Mamiya 645 Pro, the disparity still applies.
And the disparity grows as you increase the number of lenses.
There are a bunch of other differences between the two types of cameras that suit different needs and preferences - pick what you prefer.
One really big advantage is how quiet TLRs can be.
This illustrates another really big advantage of TLRs (and rangefinders):

(Hint: anything that requires heavy filtration)
You cannot reliably determine what is best for your needs by just reading things or watching things on the internet or in publications)

 

[RezaLoghme]

I use both TLR (Rolleiflex);and SLR (Hasselblad). Both for over 50 yrs. Each has its advantages and shortcomings. I also use RF (folders, Medalist).
One example: my Rollei 2.8F is much more discreet than my Hassy, and in many situations, even a folder. I find action shots easier with my Rollei than with my Hassy. Of course, your experience may be different. Or you may prefer more static subjects.

Really ? I would have thought that the two lenses with all that chrome cause more people to wonder what you are actually doing, than a video-camcorder-like black 500CM with a prism viewfinder.

 

[Dan Daniel]

A factor not mentioned often, but that I know keeps me from Hasselblads- mirror blackout. I know, minor and a mental quirk of mine. But being cut off from the scene on the ground glass after taking the image simply does not work for me.

I have found like guangong that a TLR, a Rolleiflex, simply does not register as a camera with most people. I don't understand it, but you can be three feet and shooting someone and they can even look right at the camera and there is no reaction. Something very unthreatening at the pug-nosed box compared to the forward thrusting snout of other cameras?

 

[RezaLoghme]

I would be so keen to understand that a bit better. For me, the blacked-out screen is like when the curtain falls in theatre.

 

[guangong]

Your thoughts are mistaken. A TLR, with waist level finder and shutter so quiet that a very close bystanders will notice nothing. Hardly the case with an SLR.
A prism finder on a TLR does have its place, so when I’m invited to photograph a friend’s instrumental concert I use a prism finder. The clashing noise of an SLR would not be welcome. If stage is bright enough I have even used a Rollei 35.
Each camera design has its strengths and weaknesses. There is no perfect camera.

 

[BrianShaw]

One of my most memorable encounters (circa 1990's) when photographing with a Rollei TLR was when a young child stood nearby staring at me. He turned to an elderly lady and asked, "mummy, whatsoever is that man doing?", to which she replied. "He is a photographer and he is photographing. Sit with me and look photogenic.) If ony I could find the negatives as I recall that they really did look photogenic.

Second most favorite was when photographing with a Hasselblad and a nearby lady said to her man, "Is that camera like yours?", to which he replied sheepishly, "Not really; He has a Hasselblad."

 

[guangong]

One of my most memorable encounters (circa 1990's) when photographing with a Rollei TLR was when a young child stood nearby staring at me. He turned to an elderly lady and asked, "mummy, whatsoever is that man doing?", to which she replied. "He is a photographer and he is photographing. Sit with me and look photogenic.) If ony I could find the negatives as I recall that they really did look photogenic.

Second most favorite was when photographing with a Hasselblad and a nearby lady said to her man, "Is that camera like yours?", to which he replied sheepishly, "Not really; He has a Hasselblad."

Wonderful story.

 

[Dan Daniel]

I would be so keen to understand that a bit better. For me, the blacked-out screen is like when the curtain falls in theatre.

That's the difference. For me, the black screen is cutting me off from what I am photographing. A photo is a slice of an ongoing stream, and losing the stream is dropping out of the world that I am engaged in.

I imagine that the 'curtain fall' is a bit of a 'Mission accomplished!' feeling? A punctuation mark, exclamation point of the process?

 

[BrianShaw]

Perhaps videography would be a better option than still photography?

 

[RezaLoghme]

That's the difference. For me, the black screen is cutting me off from what I am photographing. A photo is a slice of an ongoing stream, and losing the stream is dropping out of the world that I am engaged in.

I imagine that the 'curtain fall' is a bit of a 'Mission accomplished!' feeling? A punctuation mark, exclamation point of the process?

Yes, the exclamation mark, which is exactly the sound the 500’s mirror makes: “That was it!”

Note: The motorized Hasselblads return the mirror almost immediately. However, their sound is not so much an exclamation mark but rather a full-blown military tattoo, with Max Werner's kit in the middle.

BUT

The continuous view through the upper lens of a TLR camera indeed provides an illusion of permanence and unending moments. This illusion is comforting, making it seem as though life will persist indefinitely. Yet, the reality is that every photographer will eventually capture their final image, and just as the single-lens reflex (SLR) camera’s mirror ultimately rests in its final position, our experiences too come to an inevitable end.

 

[Dan Daniel]

BUT

The continuous view through the upper lens of a TLR camera indeed provides an illusion of permanence and unending moments. This illusion is comforting, making it seem as though life will persist indefinitely. Yet, the reality is that every photographer will eventually capture their final image, and just as the single-lens reflex (SLR) camera’s mirror ultimately rests in its final position, our experiences too come to an inevitable end.

Well, I am not looking for some illusion of eternal life and cosmic continuity. I just like seeing what I photographed both before and after firing the shutter

And in case Brian was referring to videography in reference to my comment, I draw a distinction between the process of photographing, where I prefer continuous connection with my subject, and a photograph itself which is a single moment. I did film and video, taught both, and dropped both mediums because they didn't give me what I want, a single still image on paper (or screen) to be viewed in a viewer's chosen time frame.

 

[BrianShaw]

I was, Dan, and it was mostly tongue-in-cheek.

I can relate to the comment on the "illusionary nature" of constant contact with subject because most often whever happens immediately after a shutter is released is not caprturable until film is wound and/or shutters are re-cocked. Potential images are lost to history during that transitory state whether seen or not.

I also know what you mean about still vs motion picture making. I'm a still phtootgrapher yet took classes at AFI a long time ago in video editing, and never made use of any of those knowledge/skills except to direct and assess the work of others who did it for us; me alsways speaking probably from a point of annoyance and incompetence, I'm sure. That, however, is an activity I really wouldn't mind resurecting one day when time permits. We all have different needs and interests and it's all good.

 

[DWThomas]

I'll just toss in here ... Using a TLR was a revelation after using an SLR when I was shooting infrared film with an opaque filter. Much handier, no removing filter to compose and focus, etc.

I own the poor man's version of the dream cameras upthread -- a Bronica SQ-A and a Yashica Mat 124g. Since using both for a number of years, I confess the TLR gets more frequent use, especially for travel. The 124g accompanied me on a 5900 mile USA road trip in 2016 and a Rhine cruise in 2019, but that's the ultimate result of "keeping things simple." If I'm going for more exotic applications the SQ-A with an assortment of lenses and viewfinders, plus interchangeable film backs, can be an obvious advantage (assuming I can carry them! )