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Current Medium Format Cameras

Introduction

So while a 6x6cm camera might produce a top quality print of 16x20", a 6x7cm camera could do at least 25% better, such as 20x24". While that may not sound like much in inches, it is 50% greater area (viz., 480 sq. inches vs. 320). The difference in impact is considerable!

But nothing in photography is free. The extra quality comes at the expense of larger and bulkier cameras and fewer photos per roll of film. We will look below into the origins of the 6x7cm format, and the main 6x7cm rangefinder, SLR, and even TLR offerings on both the new and used markets.

Ratios and Benefits of 6x7cm

As you can see, the 6x7cm "ideal format" is an exact or very close match for the typically used medium format enlargement paper sizes from 8x10" to 24x30" used in the USA. By contrast, the European A4/A3.. paper series have a 1:1.4 aspect ratio, rather closer to 35mm's 2:3 ratio.

Another useful table from West Coast Imaging Inc. provides their recommendations for print sizes based on film negative sizes:

To put this in context, the 6x7cm format is 1/3rd larger than the 6x4.5cm when printing on 4:5 ratio papers (cropping 6x4.5cm as needed). For 2:3 ratio papers (4x6", 20x30") and films (35mm, 6x9cm), the 6x7cm is roughly 1/4 larger than 6x4.5cm (per posting).

Wildi's Medium Format Advantage gives 6x7cm only a 25% or so advantage over 6x4.5/6x6cm, evidently based on the 2:3 ratio paper sizes. As we see here, the factor could be as high as 1/3rd, depending on papers and cropping specifics. That advantage translates into doing 20x24" prints with 6x7cm negatives, significantly larger (by 25-33%) than those of smaller medium formats.

History of the "Ideal Format"

The ratio of the 6x7cm camera negative is 1:1.25 (56x69.5mm), which is also a 4:5 or 8:10 ratio. So you can enlarge the 6x7cm negative with minimal cropping to yield a (U.S.) standard 8x10" print (or 16x20" and so on). Competing 6x9cm and 35mm cameras had a 2:3 ratio. You had to crop or waste paper on standard U.S. paper sizes with a 4:5 ratio (e.g., 8x10"). The "ideal format" of 6x7cm was designed to match the popular sizes of U.S. printing papers, especially 4x5" and 8x10" prints.

In the late 1940s and early 1950s, the Simmons brothers produced the Omega 120 camera (starting with the B1 model). These Omega models were the precursors of the later series of Koni-Omega and later Rapid Omega 6x7cm cameras.

The Koni-omega series of cameras featured the "ideal format" as part of their marketing campaign, as developed by Paul Klingenstein and Henry Froelich of Mamiya America Corp., the U.S. official importer of Mamiya cameras. The idea was to capitalize on the easy enlargeability to standard U.S. paper sizes without requiring cropping adjustments.

This direct printing trick for the "ideal format" is especially useful if you are using a commercial lab. Direct printing minimizes the amount of instructions and communications (and some would say, mistakes with your order). By contrast, a 6x6cm or 6x4.5cm camera user has to specify the cropping to 8x10" for each shot, or go with whatever the lab tech likes best.

How Mamiya Came to Dominate 6x7cm

Henry Froelich of Mamiya America Corp. was one of the principals (along with Paul Klingenstein) responsible for resurrecting the Omega 120 design in the Koni(ca)-Omega 6x7cm rangefinder series. When Konica bowed out, the tooling and production was shifted to Mamiya Corp. The name had to be changed to Rapid Omega, since Konica no longer produced the camera. The term "rapid" served to highlight the rapid push-pull film advance mechanism of these 6x7cm rangefinders, a feature which endeared them to many wedding and photojournalism users.

Given that it was Mamiya Corp. that made the last series of Rapid Omega models and lenses (after Konica bowed out), it should not be surprising that Mamiya has come to play the major role in the 6x7cm marketplace. The largest selling 6x7cm studio cameras are the Mamiya RB/RZ67 series, and the largest selling 6x7cm rangefinder is the Mamiya 7/7II series.

Mamiya corp. produced a series of press cameras in 6x9cm format with a more extensive lens line than its Rapid Omega production. Models include the Mamiya Universal, Mamiya Standard, and Mamiya 23 series. Many of the accessories of these cameras can be used on the succeeding (and highly successful) Mamiya RB67 camera.

The Mamiya RB67 is a highly successful 6x7cm camera, particularly for studio users, thanks in part to its basic design and high quality leaf shutter lenses. The RB67 featured interchangeable backs and a non-shifting bellows, a feature which made closeup photography easy on this SLR. Many users really loved the rotating back, which made it easy to switch from landscape to portrait orientation on a tripod simply by rotating the back as needed.

The downside of this trick is that the RB67 is really a 7x7cm camera in size and weight, to make the rotating back feature work. But a relatively heavy and large bellows focusing camera is less than ideal for many field situations. The Mamiya RB/RZ series use leaf shutter lenses, which further add to the cost of the system, while limiting the lens speed and sizes.

Pentax stepped into this market with their Pentax 67 series camera, with the original model only being updated after thirty years of production. The Pentax 67 is everything the Mamiya RB/RZ67 is not - an ideal field camera, a focal plane shutter body, an overgrown 35mm SLR body style for fast handling, and relatively low cost lenses including especially a series of long telephoto lenses. Unfortunately, the Pentax 67 is also a very solid metal body camera, with a weight over 5 pounds, less than a pound lighter than the RB/RZ67 series.

Enter Bronica with its GS-1 6x7cm SLR offering. Like the Mamiya RB/RZ series, the Bronica features leaf shutter lenses. But the overall camera is designed to be lighter and faster handling for easier use in the field and traveling. The Bronica GS-1 is nearly two pounds lighter than the RB/RZ67, and more than 21 ounces lighter than the Pentax 67 (see camera weights table below).

A Best Buy Comparison

A study by Chris Perez showed that only two cameras scored above 90 lpmm in his tests of many lens brands on medium format cameras. Both sets of lenses were made by Mamiya (based on a Konica design for the first series). The Mamiya 6/7 rangefinder series is well known for its top scoring optics. But the second high scorer was the Rapid Omega/Koni-Omega lenses. Surprise! Granted, the Mamiya 6 and 7 lenses scored higher on average, but the low cost RO/KO lenses outperformed many big name optics too.

Source: Field of View Calculator

Why do I call the older Rapid/Koni-omega kits a "best buy"? You can buy the basic Rapid omega 200 series, with interchangeable backs and the excellent 90mm leaf shutter lens for US$150 and up! For circa US$750+, you can have a four lens kit, and add more backs for US$50+. By comparison, the Mamiya 7 kit with 80mm lens is US$3,150 (at B&H;). The 150mm lens with finder is another US$2,000+, the 65mm is US$1,600, and the 43mm with finder is over US$3,000! The new 6x7cm Mamiya 7 rangefinder is a dozen times more costly for a four lens kit, at just under US$10,000.

Now you can also see why the Rapid/Koni-Omega is the kit for wedding photographers, who need only a modest wide angle lens for group shots. The close focusing 135mm and the 180mm provide ideal optics for shooting a couple or individual portrait respectively. By contrast, the Mamiya 7 kit is a poorer alternative for wedding shooters (IMHO), even ignoring the lack of rapidly swapped interchangeable backs for 120 and 220 film on the Rapid/Koni-Omega models. The lenses don't focus very closely, a problem when shooting close portraits. The longest rangefinder coupled lens is a mere 150mm, equivalent to only a 76mm on a 35mm SLR (horiz.). By contrast, the KO/RO 180mm is more like a 94mm (horiz.) on a 35mm SLR, in the optimal range for short telephoto portrait lenses. But since a spare Mamiya 7 body costs US$1,850, versus US$50 for an interchangeable back (120 or 220) for the RO/KO series, the latter cameras are clearly superior for many situations like weddings where such preloaded backs are essential.

The mamiya 7 is a better camera where you need a selection of wide angle lenses or a built-in meter. Do you really need a 43mm lens on 6x7cm rangefinder? If so, here it is. You could use the 50mm on the 6x9cm Mamiya universal rangefinders, with a 6x9cm back, to get similar horizontal coverage, or crop it to 6x7cm to match the Mamiya 7's 50mm coverage. The mamiya universal also has an uncoupled 250mm lens. So I see the mamiya universal series as a budget buyer's competitor to the Mamiya 7 rangefinder. But the Mamiya Universal has multiple backs, polaroid backs, more lenses, and lots of closeup accessories, a shift/tilt body (mamiya 23) and other options beyond the Mamiya 7. That polaroid back and lenses options are also advantages of the Mamiya universal press camera series over the rapid/koni-omega camera series too.

Besides the Mamiya Universal series, the Graflex XL and XLSW series offers another option with the added attraction to some users of zeiss made lens options. The XLSW is especially interesting, given its fixed (non-interchangeable) 47mm super angulon lens and interchangeable backs (including 6x7cm format options). If you want an alternative to the Mamiya 7 with 43mm lens, which doesn't cost circa US$5,000, this could be it (at under US$1,000). The XL series provides a number of zeiss and other makers lens options, with interchangeable backs (including a polaroid back option), and fast rangefinder focusing. However, some users of the XL series have reported film flatness problems and mechanical failures which you would want to consider carefully. By contrast, the Koni-omega series has a very flat film design, which is probably partly responsible for its excellent showing in lens tests.

The mamiya 7 is revealed as a camera optimized for light weight, with first rate optics focused on wide angle lens options and with only a modest portraiture lens option in the 150mm. I see it as a travel camera, rather than as a wedding shooter's camera. On the other hand, the wide angle lenses are revealed as alternatives more than "buy 'em all" options. The Mamiya 7 50mm and 65mm lenses are equivalent in horizontal coverage to 26mm and 30mm lenses on a 35mm SLR. That is awfully close, and most of us would just carry a 28mm, but not both a 26mm and 30mm. The rapid omega lens line uses this approach, with just the one 58mm (i.e., a 28mm equiv. on 35mm SLR). The 250mm lens seems like a handy option too, until you see it is uncoupled and harder to use too. So the various lenses on the Mamiya 7 seem a bit less handy once you do the lens lineup analysis here.

Fuji GW670 III 6x7cm Rangefinder

Fuji had a series of interchangeable lens rangefinder 6x9cm G/GL690 series cameras, and a rarer GM670 series body in 6x7cm format. The current fixed lens GW670 series is matched by a GW690 of the same weight (51.5 oz.) and identical 90mm lens. Reportedly, these lenses barely cover the full 6x9cm format (actually 56x82mm), with some vignetting unless stopped down a bit past f/4 on the 6x9cm model. On the 6x7cm model, you won't have to worry about this glitch. The stock GW670 is basically a GW690 which has been geared and masked to take 6x7cm shots, but with the same lens and body. The price is the same too! But since the lens is covering a 6x9cm rather than a 6x7cm field, it acts as the equivalent of a 39mm on a 35mm SLR (i.e., 58 vs. 52 degrees on the GW670).

We should probably also mention the GSW690, which is a slightly heavier version of the same basic camera with a 65mm f/5.6 lens covering 76 degrees, equivalent to a 28mm on a 35mm SLR. This is very close to the Mamiya 7 rangefinder with the 50mm lens (approx. 26mm on a 35mm SLR), but about half a pound heavier, and lacking the Mamiya 7's built-in meter. But you can get the GSW690 plus lens for rather less (US$1,250+) than the Mamiya 7 body (US$1,850), let alone with the 50mm or 43mm lens and finder.

I would be remiss to not point out that prices for officially imported Mamiya gear in the USA is rather higher than the identical gear in overseas markets. In the U.K., you should check local prices at places like Robert White Ltd., which will also sell to overseas buyers. You can find other grey market sources which could save USA buyers up to 50% or more on many items like lenses and accessories. But you won't have a USA warranty, and would have to send your camera off to the overseas seller or direct to the factory to use the international factory warranty for warranty period repairs. Many buyers may feel the minor risks and inconvenience are greatly offset by savings of thousands of dollars in a typical kit.

Finally, the G690 series interchangeable lens rangefinder cameras by Fuji may also be an interesting alternatives for someone wanting a Mamiya 7 style camera. The Fuji made lenses included a 65mm, 100mm, 150mm, 180mm, and 250mm (with auxiliary finders for the 65mm and 250mm). These cameras are relatively rare, and the full lens range even more so. But prices are more modest too, at circa $650 and up for the basic 6x9cm rangefinder and lens kit. Keep in mind that certain repairs may be problematic or even impossible (per some posters). We have the following chronology from Babar de Saint Cyr posting:

G690BL                (1968)
GL690                 (begin of 70')
GW690 & GSW690        (1983)
GW690II & GSW690II    (1986)
GW690III & GSW690III  (1992 & 1993)

My key reason for highlighting these cameras here is as an alternative to the interchangeable lens rangefinder like the Mamiya 6/7 series. I would like to see Fuji come out with a modernized 6x9cm rangefinder lineup, with a built-in meter and other updates to their GW670/GW690 lineup.

Plaubel Makina 67/670/67W Rangefinders

So why don't I recommend the Plaubel Makina 67/670 rangefinders? The prices have exploded to multiple kilobucks, especially for the wider angle models, to collectible camera levels. For a user, these cameras are now quite old, and repairs are very costly or impossible. The struts are likely to be wearing out, and the supply of repair parts is nearly non-existent. So you could easily spend kilobucks on a classic camera, only to find it unusable and unrepairable.

Still, if you run across one at a reasonable price, in good condition, keep me in mind! ;-)

Bronica GS-1 6x7cm SLR Case Study

Limitations of the Bronica GS-1 6x7cm SLR:
• no zoom lenses
• no shift lenses
• no soft focus lenses
• one macro lens
• 500mm f/8 telephoto is US$11,220 (!)
• no fisheye lenses
• bellows US$1,650+
• extension tubes (G18mm, G36mm - US$480 -each!)

The reason for highlighting the costly bellows and extension tubes of the Bronica GS-1 is to compare against the Mamiya RB67 series, which has a built-in bellows. The lens availability table below highlights the relatively limited eight lenses of the GS-1 line against much broader competitor's lens lineups too.

So my suggestion is that the low resale value of used Bronica GS-1 6x7cm SLRs is due more to problems with the lens lineup and holes in the system capabilities (e.g., macro, shift, soft focus..). I suggest that the GS-1 loses out to the RB/RZ67 in the studio, due to lack of rotating back, bellows, close focusing issues, lack of soft focus lenses, and so on.

The GS-1 loses out to the Pentax 67 in field work due to the lack of affordable long lenses and ultrawide and fisheye lenses. The GS-1 has limited macro capability, with only .59X magnification with the 110mm macro lens ($1,600+) when used with the G36mm extension tube ($480), unless you want to risk using the bellows ($1,600+) in the field. The lack of a shift lens option makes architectural and similar perspective control travel shots problematic. You could do wedding work, using fill-in synchro flash with the leaf shutter lenses and current lens lineup. But without a rotating back, you would have to constantly flip the camera awkwardly on a tripod, versus the rotating back design of the Mamiya RB/RZ series.

Pentax 67 SLR

More usefully, the pentax 67 is the champion long telephoto lens camera in medium format. Five of the seven medium format telephoto lenses longer than 500mm are Pentax 67 lenses. The other two are $20,000+ lenses for the rolleiflex 6x6cm models that are understandably rarely purchased.

The following table highlights the relatively low lens cost of the Pentax 67 kit. In fact, a Popular Photography magazine study of the cost of typical pro kits for 35mm SLRs like Nikon and Canon versus medium format systems by Hasselblad, Rolleiflex, Mamiya, and Pentax 67 kits surprised everyone. The cheapest pro kit was not the 35mm Nikon or Canon SLR, and not the 645 or 6x6cm SLRs, but the largest format Pentax 67 SLR. Thanks to the relatively low prices of the lenses (which lack costly leaf shutters), the lens kit cost of the pentax is startlingly less than many competitors in medium format (see lens price tables by format). In many cases, the non-leaf shutter pentax 67 lenses are also up to a stop faster, as well as being cheaper.

Sad to say, there is a tradeoff here. You can only use the pentax 67 with the rather slow flash synch speed of 1/30th of a second. Aaargh! One alternative is to use the 165mm f/4 leaf shutter lens for Pentax 67, a bargain at only US$810 (versus 165mm f/2.8 at US$730). But if you need fill-in flash (as for wedding photography), you would be better off with other leaf shutter lens systems (e.g., Hasselblad, Bronica GS-1).

Popular 6x7cm Camera Weights

The bigger utility of this table is to highlight the relatively light weight of the Bronica GS-1 6x7cm SLR versus the competing Mamiya RB/RZ (nearly 50% or 2 lbs. heavier). The Pentax 67 is often cited as a heavy camera for field use, and it is 1 lb. 5 oz. heavier than the GS-1 kit (which has interchangeable backs).

In rangefinders, you can see why the relatively lightweight Mamiya M7 series is so well liked for travel and field use. At under 43 ounces, it is as light as many pro 35mm SLRs without motor drives. The most comparable 6x7cm rangefinder is the Rapid Omega 200, but it is over 2 lbs (1 kg) heavier! As noted, the Fuji GW670-III is actually a masked down version of the GW690-III, so it is probably heavier than it needs to be for a 6x7cm kit. The original Omega 120 with magnesium construction was 3 ounces lighter than today's Mamiya M7.

The extra weight of the 7x7cm body size of the Mamiya RB67 series, to allow for the rotating 6x7cm back, adds roughly ten ounces to the camera over its pentax 67 SLR competitor (along with the nifty bellows). Going to the Fuji GX680 6x8cm kit raises the camera weight to an astonishing 9+ pounds, but only provides us with 5.5mm more film negative length (56x75mm for 6x8cm, versus 56x69.5mm for 6x7cm models). Yikes!

Large Format versus 6x7cm

In other words, the best 35mm lenses can deliver approximately 14X enlargement on techpan, while MF deliver 12X enlargements, and LF delivers only 9.2X enlargement factors. Since 4x5" film is roughly 75% longer than 6x6cm MF on its limiting (4") axis, we would expect roughly 75% longer axis on the prints too.

But there is an "enlargement gap". We only see a jump from 27" to 37". So we get less than half (~45%) of the expected benefit from larger film size in going to 4x5" from 6x6cm. Corner sharpness if the main limiting factor here, and is related to lens coverage issues.

Let us revisit our table from West Coast Imaging Inc. for their recommendations for print sizes based on film negative sizes:

The key point here is that you would expect in going from 6x7cm to 4x5" to essentially double the size of the print. The film sizes virtually doubled in going from 6x7cm (56x69.5mm) to 4x5" (~100mm x 125mm). Given 6x7cm is good through 20x24", you might reasonably expect 4x5" to be good through 40x48" (twice each axis). But that LF enlargement factor required an 8x10" negative! With 4x5", you only got a 50% increase on the short axis in going from 20" to 30". That is a gap in enlargeability of about 50% as suggested by other studies cited here.

Not only is the film area used better in medium format, but it is also cheaper, as noted in a posting by Kerry Thalmann - The cost of the film, per square inch of image area is actually highest for 35mm (about $0.11 per sq. in. for Velvia) and lowest for 120 medium format (about $0.055 per sq. in.), with 4x5 sheet film falling in between (about $0.085 per sq. in.). Not only do you need about a quarter the area of film for a 6x7cm shot versus a 4x5" shot, but the cost per unit area is also lower too. Other running costs like development, chemicals, mountings, archival storage costs, and so on are less with medium format than large format.

The bottom line is that jumping from 6x6cm or 6x7cm to 4x5" only gives us about half the benefits we might expect, based simply on larger film sizes and areas, for both black and white or color prints. So you are carrying around a lot bigger and bulkier camera, using sheet film holders, only to get about half the enlargeability benefits, at a rather higher per shot cost.

The view and press cameras do have the great advantage of perspective control movements (e.g., tilts, shifts..). One way to get these benefits, with the economy of using 120 rollfilm, is to use rollfilm backs. Such backs enable you to use 120 or 220 rollfilms for economy, rapid film advance, and low bulk (compared to sheet film holders).

The 6x7cm Format with Mini-View Cameras

The most flexible monorail cameras such as the Arca Swiss 69FC, Ebony SW23, Cambo 23 SF, Linhof M679, and Galvin series are popular for studio use. These cameras are often downsized versions of their larger 4x5" cousins (e.g., Cambo 23 SF versus Cambo 45 SF). Unfortunately, these smaller cameras tend to come with larger price tags for the higher precision lenses and mechanics. Ouch!

One of the most popular field cameras is the Linhof Technika IV/V series, which are expensive but outstanding rangefinder cameras with front standard controls and a combined rangefinder and viewfinder. Individual lenses can be cammed for use with these rangefinder cameras, and Linhof selected lenses bring a premium. As with most of these mini-view cameras, it can be difficult or impossible to mount lenses wider than the popular 47mm Super Angulons, or lenses requiring more than 300mm of extension. An accessory ground glass back can be used (as with closeups or perspective control situations), or a polaroid back, and various rollfilm backs provide sundry format options, including 6x7cm. The Ebony SV23 is another brand of field camera with ebony wood and titanium body (hence the name, and price tag at US$3,400+).

More budget minded buyers should look into the Horseman series (VH, VHR, and especially older 980/985 models). Again, wide angle lenses wider than 65mm may be problematic, depending on mounts and clearances. The Horseman cameras offer a lot of quality optics and features for a relatively modest price.

Among the lowest cost options are the older Crown Graphic 23 or Speed Graphic 23 cameras. The difference here is in a focal plane shutter on the speed models for barrel lens use or "speed" shots beyond 1/350th second limit on most leaf shutters (marked as an optimistic 1/500th second). These press cameras have only limited front movements, but even so the extra flexibility is very useful for many architectural users on a budget. Like their larger 4x5" press camera cousins, these speed and crown graphic 23 series cameras are relatively fast and easy to use handheld, with rangefinders or sportsfinders for fast shooting.

One ultra-budget 6x9cm camera that is often modified for rollfilm use is the Busch Pressman 6x9cm camera. The downward tilting bed adds a useful extra series of capabilities, making it preferred over the less flexible crown graphic 23 models. You can use a ground glass back (with hood), the Kalart rangefinder, or the built-in sportsfinder. However, like the speed/crown graphic cameras, this camera is an oldie and probably fifty years old.

Many Busch Pressman 6x9cm cameras will still have the original sheet film 2 1/4" x 3 1/4" backs, and will need to be modified to use standard rollfilm backs. There was a 620 rollfilm back, but you will need to respool 120 film onto 620 spools or buy 620 film from B&H; or other sources at a sometimes premium price. The metal body makes it rugged, but also makes these cameras heavier than the wood bodied competitors like the speed graphics. With the modified back, you can use some of the mating 6x7cm and 6x9cm rollfilm backs listed in our table.

Why go into such detail over mini-view camera options like the Linhof Technika IV/V, Horseman 980/985, speed/crown graphic 23s, or the Busch Pressman 6x9cm cameras? Simply because they solve problems which are hard or impossible to solve with fixed body cameras such as the Bronica GS-1, or when you are limited to pricey and limited range shift lenses without tilts. These technical and field or press cameras offer a popular way to use rollfilm with less bulky (if nearly as heavy) cameras than the usual 4x5" outfit.

The main gains here from using a rollfilm back are:
1. the use of rollfilm for economy, speed, and light weight over sheet film holders,
2. an easier to use handheld rangefinder setup that is a bit less bulky and heavy, plus
3. the extra 1-2 stops of equivalent DOF from using the smaller 6x7/6x9cm formats than 4x5".

Our rollfilm back pages provides the following list of backs which can provide a 6x7cm format option:

Omegaflex - the 6x7cm Twin Lens Camera

Besides the ground glass and reflex (mirror) viewer, the camera uses the same interchangeable backs as the Rapid M (including a 220 back, but not a polaroid back). Besides the reflex finder and eye level (as on a view camera, it is upside down and left/right reversed), there is also a folding sportsfinder. I like the simple trick of providing two tripod sockets, one on the bottom and one on the side, to make it easy to chose landscape (horizontal) or portrait (vertical) layouts.

The omegaflex is a very logical extension of the Koni-omega design, including lenses and accessories, into the twin lens camera realm. Very few other 6x7cm or larger twin lens camera designs were made commercially. The custom Gowlandflex 4x5" twin lens cameras and others by noted glamour photographer Peter Gowland are probably the most well known.

The big selling point for these cameras is the "ideal format" ratio of 6x7cm (or 4x5"), which directly enlarges to a number of standard U.S. paper sizes without cropping. Simple. The Omegaflex also offered a variety of lenses and interchangeable backs, unlike the popular fixed lens Rolleiflex and other competing TLR cameras. The C2xx/C3xx series of the Mamiya interchangeable lens TLRs are limited to 6x6cm formats and don't feature interchangeable back designs.

Slide Projectors

As you might expect, Mamiya Corp. makes a Cabin series of 6x7cm slide projectors. These Cabin 6x7cm slide projectors are simple manually operated affairs, but with reasonably bright lighting and good quality optics. New Cabin series 6x7cm slide projectors run about US$ 400 overseas, but more like US$1,000 for models officially imported into the USA by Mamiya America Corp., the official USA importer. Some buyers prefer to buy grey market or directly import from overseas, via the Internet, or used on ebay.

If you think $1,000 for a Mamiya Cabin 6x7cm slide projector is pricey, check out the European competition by Linhof, Goetschmann, Beseler, and Liesegang. Ouch! Let us just say the 6x7cm cameras usually cost less than some of these slide projectors - new or used.

So why do so many folks shoot 6x7cm slide film? Simply because it is easy to see directly, with great impact that sells itself without having the buyer squint through a loupe, as with a 35mm sized slide. Making a high quality internegative is also easy, and you have lots of leeway for cropping during slide duplicating too.

6x7cm Enlargers

Digital options

I doubt we will see any true full-format 56x69.5cm or larger sensor arrays at an affordable price anytime in the foreseeable future, due to small volume of this market. So chances are rather good that near future medium format sized sensors will be limited to 6x4.5cm range. In other words, you probably won't get much benefit from the larger size and weight of the 6x7cm kit when you are using a 6x4.5cm digital sensor back.

The new series of medium format film scanners (cf. Epson 2450 and up) offer a modest cost way to digitize 6x7cm film images in the studio or at home. Many film scanners either work only with 35mm, or work with up to 4x5" sized film, depending on the film carrier and setup. Drum scanners will generally work with 6x7cm as well as with 6x6cm films, since the widths are the same, and larger film formats are usually supported anyway.

Conclusions

Why are 6x7cm cameras so attractive? They provide medium format users with an extra quality edge (from 25-35%) over 645/6x6cm, enabling enlargements to 20x24" or larger. For large format users, the 6x7cm cameras offer greater film economy and ease of fast handling and rollfilm use. Thanks to the "enlarging gap" of LF, the penalty for switching from 4x5" LF to 6x7cm is only half what you might expect based on film size alone.

The 6x7cm cameras are highly individualized cameras, each with very different strengths and weaknesses as discussed above. The overgrown 35mm shaped pentax 67 is very different from the Bronica GS-1 (with its interchangeable backs) or the Mamiya RB/RZ67 series, with its bellows and rotating backs. The pentax 67 was the lowest cost new medium format SLR, and has the most telephoto lens options beyond 500mm in current medium format cameras.

6x7cm SLR Lenses, sorted by focal length and cost:

From: "Jeffery S. Harrison" karaya@kpunet.net
Newsgroups: rec.photo.equipment.35mm
Subject: Re: 35mm vs. 645 help
Date: Fri, 25 Oct 2002


I actually shoot 6x7 not 645 but there is a huge difference in image quality
with the difference visible even in 4x5 prints. There should be a similar
difference between 35mm and 645 (of course this assumes you're using lenses
of similar quality and the same film emulsion for the comparison). You
should be able to get good 120/220 processing by mail if it isn't available
locally -- you don't have to have everything processed in 1 hour and the
quality is worth the wait.

Jeffery S. Harrison


From: "Jeffery Harrison" jshphoto@worldnet.att.net
Newsgroups: rec.photo.equipment.35mm
Subject: Re: 35mm vs. 645 help
Date: Sat, 26 Oct 2002


The differences I see between the two (in the smaller prints) is more in
things like tonality and for any given emulsion smaller visible grain fromt
he larger negative (when the grain is visible anyway). My 6x7 negative
definitely look better at all sizes though the "better" in the small 4x5 --
8x10 range is more of a feel than something you would necessarrily be able
to put a finger on as soon as you see it. Likewise, I have gotten good
20x30's from my 35mm too (I wouldn't call them great but they're certainly
better than just passable).

For what little it's worth I typically shoot Provia 100F, Ektachrome E100S
and E100SW or the various Portra print films in both formats. RZ67 Pro II
and Mamiya 7 II for medium format and various Nikon bodies (F5, F100, F4s,
F3HP and FM2n) with top-end Nikon glass on them for the hardware.

Jeffery S. Harrison


From: Stefan Patric tootek2@yahoo.com
Subject: Re: looking for a good MF option
Newsgroups: rec.photo.equipment.medium-format
Date: Thu, 08 Apr 2004 

Don Wallace wrote:

> I am a large format photographer who does the "family snaps" on 35mm.
> I have MF backs for my LF stuff and I even have an old press camera with MF
> back that I sometimes uses for hand held stuff. However, I would like
> to drop the 35mm altogether and get a good MF system that is more useable than
> the old press camera. I have heard that used MF equipment is coming down in
> price because of digital. If that is the case, I am looking for a
> reasonably priced MF camera with the following requirements: 6x7 (I could
> live with 6x6 if I really had to), interchangeable backs, TTL. Any
> suggestions as to what might be a good option? I am not very
> knowledgeable about MF systems.

There are only two 6x7 cameras that I know of that have interchangeable
film backs: The RB/RZ67, and the Bronica GS-1. Both are SLRs, big,
heavy, and really designed to be used on a tripod or camera stand.
Either is heavier and more cumbersome than your average 4x5 press
camera. If you NEED interchangeable backs, they are the only choices.
Both have meter prisms, so you've got TTL metering.

If you can live without interchangeable backs, you have more choices.
In the SLR, there's the Pentax 6x7, kind of a 35mm on steroids. This
is a great camera. Excellent lenses and a very large selections of
them, too. With many, many accessories. This camera was designed for
the professional, who needed the speed and workability of 35mm, but a
much larger format for quality images. It's been around for over 30
years in various models, and so there's lots of used equipment out
there for a great price. And from the savings, you could just get 2 or
3 bodies instead of film backs. It also has a TTL meter prism option.

If you don't need SLR viewing, I'd suggest the Mamiya 7, a 6x7
rangefinder. Excellent camera and lenses. Very compact (for a 6x7).
It doesn't have TTL metering, but it does have AE and manual metering.
No interchanegeable backs.


Now, with all that said, and if all you really want is a medium format
"point-n-shoot", take a look at the Fuji GA645z. It's a 645
auto-everything, viewfinder camera, but quality, with a 55 to 90
powered zoom. Very small. You might also look for the earlier models
the GA645 that came with a 60mm autofocus lens, and the GW645 (or
GA645W, can't remember which) that came with a 45mm lens. I don't
think they are made anymore, but are still available new or used.

Now, if you want something less auto, but still small and 645, look at
the Bronica RF645. Not a "point-n-shoot", but a true, professional
grade, 645 rangefinder with excellent lenses. (www.tamron.com and
click on Bronica, then Bronica RF645) FWIW: I think this camera will
soon be discontinued. It is only available through B&H; as a special
order. Additionally, it has a $450 manufacturer's rebate. That
indicates to me, that it hasn't been selling well. Though it's still a
nice, compact 645 with electronically controlled leaf shutter lenses
and built-in meter with auto-exposure. No. No interchangeable backs.

--
Stefan Patric
tootek2@yahoo.com


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