As a former chemist, and currently working in the hydrographic field and topography, I’m not a professional photographer but I have some experience with the RZ67 which I feel could be valuable for other film shooters like me. It was introduced in 1982. As I mentioned above, this is because the further the bellows is extended, the less light will hit the film, and the film needs more light to make a correct exposure. Try as I may, I cannot reproduce a FILM output on any Digital. That huge viewfinder ! There will be no sharpness comparisons, no high ISO tests with film, no dynamic range graphs. The winders mount on the bottom of the RZ, and use 6x R6/AAA batteries. Aside from the information about camera itself, I can feel your passion and your love to the film, the camera, and off cause your life. You also use the blue ring on your lens that tells you what the real DoF obtained with your diaphragm setting is. In 1982, Mamiya released the RZ67, a lighter, leaner, more advanced version of the RB. If you have a doubt: test it. But, really, I would enjoy short trips like that much more if I’d do them in a 1970’s Fiat 500. It’s like a “chimney”. Because of these reasons, I’ve found the RZ67 better for me but I dare to admit that it would be ideal to have them both . However, both these accessories and lenses will have limitations due to RB67 being completely mechanical (RZ67 uses an electronically controlled shutter and several other components). Kodak closed several divisions, but there’s one that’s still, believe it or not, working. No lit LEDs in the viewfinder? Before we dive into my very personal and subjective review of the Mamiya RZ67 Pro, lets talk film for a minute. Single Lens Reflex (SLR) Naturally, two decades in decently warm temperatures had to have an effect, and as I expected, film was heavily covered in mold. But that is where an open mind helps. When used with this camera, it provides a very narrow depth of field, similar to a 50mm f/1.4 lens on your great 5D III or D800. And so they get curious. Press plunger of cable release The one I use is “DOF Table” by Suguru Yamamoto (available on IOS) because you can create your own system, add your own equipment, lenses, etc. There are at least another 30,000 to come as we move to part two and beyond. This aspect wasn’t featured in the video due to time restraints, but the Polaroid back was essential for portrait photographers to test lighting and exposure before the age of digital. Processed in Kodak HC110, dilution B (1:31) for 7:30 at 20c. Film is a great medium for introducing unknowns, and exposes those who attach themselves too readily to the automated processes of digital photography. Written by Pierre-gilles Lucain and published on October 16, 2020November 24, 2019. It does the same job as if you pressed the shutter button with your finger. It was taken by Charles O’Rear and was the emblematic default wallpaper of Microsoft Windows XP. And I do mean everything. I have been a photographer for 35 years and after many years of using digital gear, I went back to film a few years ago. And remember you can use the metering system of the FE701 in manual, to help to find to compensate your exposure when you use filters or because of the bellow extension. . That said, the RZ (all versions) is a very robust and reliable camera. It’s fake. Clunk – it’s done. The latest Pro IID camera has an electronic coupling which allows simple use of modern digital backs. Medium Format (120/620) Camera / Lens Resolution Testing. It’s awesome technology. All-matte with Fresnel lens, suited for general purpose photography. To work with it, you need an external light meter, or if you are used to it, the sunny 16 rule. I received my Mamiya RZ67 Pro II with the classic “kit” focusing screen: the Type A. I’t and all-matte with a fresnel circle in the center. Release pressure from the shutter release button (shutter closes). And you had, at best, 36 shots before you take a break and change film, whereas with digital, you have hundreds and hundreds before you swap that SD/CF/XQD card … This camera is positively enormous. Seeing how your image changes, grows, becomes your vision. This is a little trickier and requires a bit more planning, a bit more quickness to it. This problem seemed to push the very goal of having a camera and a lens completely out of our minds. Don’t get me wrong, I use my Nikon D700 very often, but that’s the main course. It’s a protection to avoid fogging your film. What an incredible overview. With all the greatness, speed, quality and versatility of digital photography, it became irreplaceable in our everyday lives and businesses. If you print your own images on paper, it’s always a wonder. It’s rational, just like digital. This waist viewfinder includes a magnifier. It could be funny sometimes, but after using my RZ for a long time, I don’t think it’s so heavy. It has a focal length of 110mm and an aperture of f/2.8. As you can see, I use the RZ Pro II version and for this example, I set the half-value between 1/125 and 1/250, and it’s 1/180. I must say, things would be different if you’d point a Nikon F6 at someone. Focusing, accessories, history, lenses, and viewfinder are completely irrelevant. Pressing the shutter release button on the camera now will raise the mirror (with a loud clunk). But what kind of camera is it? You portrayed your thoughts ~ well. You can also use an RB67 PD prism with the RZ, but in this case, you need the Electrical Contact Cover accessory to protect the electrical contacts on the top of your RZ and avoid electric short circuits which can damage the electronics of the RZ. And when they do notice me first – it’s obviously a film camera. The shooting position: Turn the white dot to face the body’s white square dot: The mechanical operation mode: when your battery is out, and you can’t replace it, the RZ can shoot manually but only at 1/400 sec. You had manual focusing and manual exposure (I’m not talking about automated SLRs – I find them a little too boring, and we’ll talk about it further on) and you never knew if you’d screwed something up in the process. However, nothing ever feels flimsy and the camera seems to shrug off any light abuse I throw at it with reasonable ease. RBL on the camera speed dial (RZ Pro II & Pro II D only) is when you use an RB lens with an RZ camera: in this case, there is no mechanical transmission, and you need to set speed and aperture directly on the lens, in manual mode (no AE). As long as there are enough feeling and pleasure in taking photographs as well as looking at them. This is, by far, what I love the most about medium format cameras. One of the problems I found, is the grip of this camera. Fotodiox Pro Lens Mount Adapter with Focusing Barrel, for Mamiya RB67 & RZ67 Lenses to Sony E-Mount Mirrorless Camera Adapter (APS-C & Full Frame Such as NEX-7, a5100, a7II) 4.2 out of 5 stars 3,224 Embracing quality of aesthetics rather than the quality of pixels. It’s a cube and not always very easy to hold in the hand but with a little practice and some accessories, I can shoot very comfortably with this camera. They may become very self-conscious or even start to dislike you without realizing their feelings are clearly visible. Standard Lenses: Mamiya-Sekor Z 90 mm f/3.5 (6 elements in 6 groups). Just a thing: the prism is big, heavy and very fragile. And exactly how I saw it. This is because of the weight, shape, and size. With a 110mm lens, you have the lightest configuration available with an RZ. And then it’s all back to normal again, the only difference being a strange, satisfied, subtle smile on my face. With only its lightest lens (the 110mm), sometimes the prism (more comfortable to shoot with) and the neck strap, it’s perfectly usable. And you had, at best, 36 shots before you take a break and change film, whereas with digital, you have hundreds and hundreds before you swap that SD/CF/XQD card and shoot away again, ten frames per second. . View all photographs taken by EMULSIVE on large format sheet film. The first thought I had when I took my first glance through the finder was – “why can’t it do video?!”. Here’s what I cover in this, part one: Parts two to five respectively cover the following: There is a lot to cover here: three camera models, eight focusing screens, three viewfinders, 27 lenses (!!!) But for long exposures (only in “B” mode), you have to press it for the entire duration of the exposure. Where digital is about speed, you had to take it slow, sometimes even painfully so, with film. It can be helpful sometimes: To access in this mode, you need to push the collar stop lever (which has a white square dot) a little before turning the release button collar. Split into five parts, it comes in at around 40,000 words. I’m not sure if it is the design of the glass, or method of focusing, using a bellows to move the entire assembly, rather than a single floating element, but examining the Mamiya images against Fuji (digital or analog) reveal a sharpness and three-dimensionality unlike any other system I can imagine. And it’s not the same as focusing a 5D III manually. “M” position of the switch stands for “Multiple exposure” and allows you to cock up shutter and mirror mechanisms without winding the film. All the sample images here (except of the Mamiya camera itself) are scans or negative macro shots and are only good for previewing purposes. Thanks for capturing it here. 4. It will help you notice new things, those you previously never thought were interesting. But that’s not at all what I’m interested in. The image above shows you what you actually see in the viewfinder when you work with the FE701 prism. To someone who’s not a photography enthusiast a medium format SLR, especially one with the waist-level finder, is just too peculiar to be seen as a camera. This is where the focusing screen is fixed on the top of the camera: To remove it, press slightly on the right side like this: It’s a fragile part, so take your time. NOW, it all begins to feel hollow. Mamiya-Sekor Z 110mm f/2.8 (6 elements in 5 groups). The lock setting physically stops the shutter from being triggered. There is more on that in part three. À chiner Appaeil photo Mamiya rb67 pro sur Selency. Tip: Always carry one or two new batteries just in case. You can remove the back completely by pulling special levers at the bottom of the back at the same time, which will decouple it from the camera. Also, there are several different film backs with different frame size support (6×7, 6×6, 6×4.5). All are 6V batteries. Page 43: Mamiya Rz67 Specifications Uses 120 (10 exposure) or 220 (20 exposure) roll film. Now, if we’d be rational about this, film is obsolete. And the image? Many thanks for your informative, awesome covering of this classic camera. The RZ is a reflex camera, which means that there is a mirror inside which allows you to see your composition in the viewfinder. In order to do that you need to move the switch on the side of the camera to “R” position, rotate the back and return the switch back again to the middle position. It’s about turning a dial rather than pressing a button. Your wife & child ~ wonderful . It is also a very interesting camera to shoot people with. But some users wrote that it works well without modifications anyway. That works, I have already shot at 1/30 with this lens with no blur on my image. My father grew up with film. ). You can shoot in manual, using the waist viewfinder or in Automatic Exposure (AE) with the prism FE701. With the FE701 and its magnifier, I do not shoot any unfocused images anymore…. It can be rotated to a lock position (red dot) to prevent accidental exposure. 3. I read it from beginning to the end – though i only shoot Dslrs. But a super-zoom is no prime lens. In other words – if one would want to calculate the equivalent focal length of a given lens, they’d have to consider the 2x-ish crop factor. The image is reversed from right to left, like the waist viewfinder. They are small and do not take a lot of space in your bag. Rotate to orange dot position to use mechanical 1/400th of a second shutter speed if you’ve run out of batteries (which may not happen for several months or even over a year). For the next three parts I will be diving into detail to cover the film back/holder system, the lens system (a complete listing of lenses, macro accessories, teleconverters, hoods and more), and as the last article for the “technical” aspect, maintenance, upkeep and miscellaneous accessories that don’t really fit into the previous sections. Sam Labone: I'm buying a Mamiya RZ/RB (I haven't decided yet) to help me get through my A-levels. Me – I grew up with the sterile, perfect quality of digital, with speed and flexibility it had to offer. Which photographers prefer the Mamiya RZ67? The RZ has many accessories for all situations, some helps me a lot to resolve my little viewing problems. The very minute I held this wonderful piece of photographic brilliance in my hands I just wanted to take a look at the world through that gigantic window. The shutter release button is located at the front of the camera for easy access with your right hand. It’s not very easy to operate and a little bit slow if you’re not used to it, so it’s maybe not a camera for everybody. Fully collapsed bellows will give you infinite focus for all lenses. Here you can see the camera with the waist level viewfinder, the automatic winder, a film back, and a lens. ilford delta 100. adox FX-39 II, 1+9, 9 min. After research, I also have learned that the following are the advantages of the RZ67 Pro II vs RZ67: - Fine focus knob - Half-step shutter speed (with AE Prism) - Digital Back My question is if I can get an RZ67 body for $199 and similar condition RZ67 Pro II for $399 (about double), is it worth the extra cost to get the Pro II? You can support this goal by contributing your thoughts, work, experiences and ideas to inspire the hundreds of thousands of people who read these pages each month. × Both formats can (and do) take tack-sharp lovely pictures, but there is always something more engaging in viewing a 35mm slide, or a 6×6 (now a 6×7 for me yay!) Perhaps this is because the level of human interaction / involvement is far more intimate and intuitive, something that does not exist at the same level in the digital format. ‘is this worth wasting a frame on?’ … ‘is there enough light?’ … ” is my meter working, or do I take a gamble on sunny16? This camera is among the purest photographic equipment and, at the same time, it’s something that can’t be seen as a simple tool. It’s about driving that focus gear, following that thin field of sharp focus until it lands where you want it to instead just autofocusing through an AF-dot obstructed viewfinder. The RZ has the option to lift the mirror up independently, just before the release. After all, it really is that much easier, and the result is often just as good, and in some cases, for some people – better. You just grab it and use it as a tool, as an extension of your vision. Price of ai-s lenses seems to have skyrocketed! When I LOOK at my Images from My Nikon D700, Olympus pro series, or FUJI XPro2 – they just do NOT have the FEEL and TONE that FILM Creates. You guessed right – film. Read the latest film photography news right here on EMULSIVE. If you don’t know how to do that, please read refer to the section “Loading film” in part three. That’s the end of part one. Like a large format camera, the further the RZ67’s lenses move from infinity, the more light needs to be “let in” in order to factor for bellows extension. It is the same reason people, while owning some of the newest, fastest, safest, most practical and fuel-efficient cars, love old classics, such as the Mercedes-Benz 230SL or a Mini. This is partly why such classic-looking cameras as Fujifilm X-Pro1, X-E1 and Olympus OM-D E-M5 work so well for wedding and street photographers. To address the elephant in the room, let’s talk a little about the focusing principles of the Mamiya RZ67. I had to guesstimate how sensitive my rolls of Svema 125 were after 20 years. Take pictures with clarity and punch. Thanks so much for putting the effort in to writing this. View all photographs taken by EMULSIVE in various film formats. Everything is tight, secure and makes me feel as if it will last longer than I with proper care. It’s also a slightly different aspect ratio – 35mm is much broader, closer to 6×9. It may sound a little freakish, but at times, I like to pick it up and stare at just about anything. At other times, the change is very subtle, but if you know anything about body language, it’s there and not always welcome – they may frown, or turn their bodies in a slightly different direction, away from you. It’s recommended to also use a cable release at the shutter release button (one with fix screw). While there are several lenses available for RZ67, including tilt-shift and zoom, mine comes fitted with a normal prime lens. *MAMIYA RZ67 Pro II – Tele-Converter 1.4 - $150 *MAMIYA APO-SEKOR Z f=350mm 5.6 - $550 *MAMIYA SEKOR ZOOM Z 100-200mm f/5.2 W (20886) - $200 SHORT BARREL and TILT/SHIFT SET $1600 *75mm and 180mm SB Lenses *Pair SB spacers *Tilt-Shift Adapter with cable ACCESSORIES *RZ67 M 645 Super Electronic Release Cable Type "B" (4m / 13 ft) - $95 To solve this problem, you need to screw the cable in again, then unscrew it, making sure the tube recesses itself back into the lens barrel. I’ve been using this camera for over a year now, but it is not quite the same kind of use your brand new Fujifilm X-Pro1 would receive during just the first few days. Dave, Nice review, this will be my next step from my trusty etrs 645 :), Just one thing, the wlf really is in 3D because you look at it with both eyes instead of a prism finder where you use both eyes. The two above sample images were captured using my Kiev 4AM 35mm rangefinder camera, which is a copy of an old Contax. We get to see digital, in a way, how we see the 18-200 or 28-300 class lenses – the do-everything, good enough for anything, the daily choice. But here lies another potential problem – with all the great all-round lenses, why do we love those boring 50mm f1.4 primes so much? There are no menus to play with. It makes framing while looking through the finder quite a bit more difficult than you might think – I still get confused at times. It’s slow, very big and very heavy, it’s missing most of today’s standard photographic features, such as AF and AE. I have a selection of Mamiya Sekor lenses for the RZ; 65mm f4, 90mm f3.5, 110mm f2.8 (my favourite lens on the RZ) and the 180mm f4.5. It’s completely different, and, dare I say, extremely 3D-like. For focusing problems, Mamiya sold separately a magnifier (FD701) that fits the FE701 (& the model 2) prism perfectly. If you decide not to use a tripod and shoot on-location, you will only be able to hand-hold the camera for longer periods in both hands. For example, the minimum focusing distance from the front of the 50mm is 45mm. Not necessarily ‘better’ technically, but more synchronous with the human psyche. I grew tired of the sheer amount of photographs, the constant clicking, the constant work with a computer. Truly a labor of love! If you take a look on Youtube about the RZ, you probably found a lot of videos made by Julio Ryuuzaki, a big fan of the RZ system. In automatic (AE) mode, at the left side of the view in the viewfinder, you can see the shutter speed, that the RZ automatically adjusts according to your choice of diaphragm and ISO values, and if your image will be over or underexposed.