MAMIYA CAMERAS

Mamiya cameras have a rich history among both professional and amateur photographers. I first encountered Mamiya cameras when I began my career in wedding photography during the film era. While the Mamiya 645 was popular, I ultimately chose the Hasselblad 6×6 format. Later, I acquired an RB67 Pro SD but found it too heavy to carry and passed it on to an assistant. I shot with an RZ67 Pro IID and a Phase One P45 when medium-format digital became practical. While the RZ was excellent for film or tethered shooting in the studio, I passed it on to a ‘film-only photographer’ after a few frustrating portrait shoots. Live View has made focusing on the RZ much easier, as with my old film Hasselblads. You cannot go wrong with Mamiya film cameras and lenses; they still hold a special place in my heart and camera bag.

I discovered my love for medium-format rangefinder cameras when I started with the Mamiya 7II. While the Mamiya 7II is an excellent camera, I sold it off because I prefer shooting in square format. In the early 90s, I was introduced to the New Mamiya 6 by a student who rented one and brought it into class. At the time, I was already using square film with my Hasselblads in my studio business and didn’t have much time for anything other than work, teaching, and raising a family. But I always remembered how much I liked the camera and hoped to shoot with one someday.

The Mamiya 6 is my go-to film camera when I’m out and about. It’s lightweight and has beautiful glass with good metering. I only wish for a wider lens, as the Mamiya G 50mm f/4 has not been wide enough on a few shoots. My kit includes the lenses Mamiya only made for the New Mamiya 6: the 50/4, 75/3.5, and 150/4.5. The entire kit fits into a small backpack, which doesn’t look like a camera backpack, making it easy to carry around while looking like a tourist.

The lenses are excellent, and I have yet to experience problems with rangefinder focusing. I’m always happy with the finished film and prints. The Mamiya 6 is a highly sought-after camera, and with good reason. However, finding parts and repairpeople for them is becoming increasingly difficult. Therefore, I always try to keep my kit in top shape because it’s a keeper.

The Mamiya RZ67 Pro II D (RZ) is a robust, modular medium-format SLR that produces large 6×7 cm negatives on 120 film, making it ideal for high-resolution studio work. Built like a tank, it offers interchangeable lenses, viewfinders, and film backs, making it highly versatile. I used it primarily as a studio camera while transitioning to medium-format digital.

The RZ doesn’t use a typical focusing ring on the lens. Instead, the entire camera focuses by sliding the lens back and forth on its big bellows. It might sound a bit old-school, but it makes close-up work surprisingly easy, no extra extension tubes needed, and none of the lenses use helical focusing mechanisms.

When I purchased my first digital back, the Phase One P45, I also picked up a digital back adapter for the RZ. While it worked, the setup was clunky in practice. Achieving critical focus was difficult, even with different viewfinders and the focusing magnifier adapter. After a year of frustration, I sold the kit, though not before creating some excellent images with it.

As a 6×7 film camera, the RZ67 Pro II is fantastic and still one of the best studio options from the film era. But I wouldn’t recommend it solely as a digital-back platform unless the back supports Live View, which makes precise focusing far more manageable.

Pictured above are a few RB and RZ accessories I found in my gear closet and photographed to sell. How often do we see a like-new RB Waist Level Finder? Not often. That went fast! I did have an RB for a short while, and it was a very nice camera. It was just too heavy for my special event photography, but it would fit my needs for a studio portrait camera.

Next is the MS 13 Flip-up Magnifier Eyepiece for RB or RZ. I acquired it while shooting a beautiful RZ IID with a Phase One P45 digital back. Unfortunately, I experienced focusing issues, a common problem with most film-era medium-format cameras mated with a digital back without Live View.

Unlike a film plane, the plane of focus with a digital sensor has about zero tolerance. The best solution is to focus on the actual sensor, which is what Live View does. I used the MS 13 in a last-ditch effort to keep the RZ because I liked shooting with it a lot, but I could not remedy the situation even with the added focus magnification.

I have never experienced focusing issues before the RZ and P45 combination. Focusing the P45 via ground glass works for me 100% of the time. Thank goodness, focusing issues with digital backs were fixed with the advent of Live View.

Finally, some lovely extension tubes and a teleconverter for the RZ IID are next. No matter what medium format SLR I shoot, I always have extension tubes and a teleconverter. I shoot probably more macro than the average photographer.

The middle image below of the purple coneflowers was created using the No. 2 extension tube and the Mamiya RZ 140mm F/4.5 M lens. If you want to know if I like the RB or RZ enough to own another, I will enjoy shooting with either in the studio. The RZ is my first choice, but I have enough gear already. If I did not, I’d want an RZ and at least three of their beautiful lenses.