6x7 Format Cameras Overview
By Danny Gonzalez

Article Index

New to this version of the Overview: 67 is a full description of the RB67
lineage, some up dates on the RZ and a user report on the Fuji 670..

6x7 (56x72mm) choices, current:

Older:

Cameras:

       67 cameras are designed with the intended use of the particular
system firmly in mind.  You really must define what you want to do with the
camera as their sheer size precludes a singular, multipurpose solution. On
the SLR side, the big three are the Ptx 67, Mam RZ/Rz pro II and the
Bronica GS1. On the r'finder side: The Mam 7 and Fuji 670 mkIII are the
current favorites. The Plaubel 67/670 and the Linhof pistol 220/Linhof 220
metered and Technika 70, plus clones ( Horseman VHR), the old press cameras
(Koni and Mamiya) and a Koni TLR, more or less, round out what is available
in the format.  Another older option, The Graflex XL, offered some
wonderful Zeiss and Rodenstock lenses that make it a very attractive and
inexpensive alternative to modern rangefinder 67's and it is the only
relatively small/light 67 RF ever to offer both interchanging backs and
lenses.

       My personal experience is with the Mamiya RB Pro 's', Rz (mdl #I),
Mamiya 7, Plaubels 67 + 67w and Pentax 67 most extensively.

Pentax 67:

        This camera is designed as a field camera, for handheld SLR
convenience (convenience is only relative with this camera). The camera
remains basically unchanged from its original form and, having been intro'd
about thirty years ago (and based on the design of the Pentax Spotmatic
35mm camera), almost every feature is archaic by modern standards. It's
very large and heavy (by 35mm standards; small and light by 67 standards),
fires off like a canon (Mucho vibration and noise) and is quirky like the
Ptx 645 (If you take off the TTL prism, then replace it, you've got to
remove and replace the lens before you get a reading back. The meter just
goes dead). Some lenses focus very closely (55, 90, 135 and new 200),
others don't focus closely at all (300/4 and the old 200).

        Working with the camera is an exercise in indecisive relativity; it
charms you with its fast lenses, its tanklike craftsmanship and its
versatility, but bothers you with its noisy, vibratory release and its
'retro' feature set.

        While its lenses are all over the place on the photozine testing front (the
55/4 tests great, as does the 400/4ED and the new 200/4. The 90 and 105
test OK, but the 135 and 165 2.8 don't fare that well), they have many
devotees that'll swear by them (and probably at me for mentioning the test
results). Besides, what other system offers a 300/4, 400/4 ED, 600/4, 800/4
or a wide as wide as the 45 (Truly great lens BTW)?  Zip, if you're talking
67 SLR.

        I use this camera and am very  pleased with what I get from it (my 165 2.8
was not very good but my 165/4 Leaf lens is great). Compared to the
competition, it's smaller and mildly lighter (but that's something akin to
saying a 4 axle truck is 'small and light' as compared to a 5 axle truck)
and handles very well. IMO, it's pretty much the only 67 slr for street
shooting (some GS1 users may strongly disagree).

        TTL metering is very accurate if you take the fact that it is a 60's style
full area averaging type and is affected by all kinds of extraneous light
(It is influenced by backlight). TTL prism view area is around 89% with the
waist level in at around 99%.

        Viewing through the normal focus screen is dark and fairly coarse but is
extremely contrasty. Beattie and britescreens are thought of by many as
required upgrades because of this, though I find the standard screen easier
to focus.  The Pentax offers the only 67 slr instant return mirror.

        The camera has been offered in three incarnations; the first version was
completely metal but lacked the mirror lockup feature. It also had a
fragile meter prism chain and a less reliable film transport system I'm
told.

        The second, also completely metal version added the mirror lockup.
The third, current version adds a cosmetic change from the ' Asahi (Or
earliest Honeywell) Pentax 6x7' to the current 'Pentax 67'. The lens mount
cowling plate is now made of polycarb for a slight weight reduction but the
camera is still 99% machined and/or cast metal.

        I've read that Astrophotographers prefer the Ptx.67 because of its straight
line film path and resulting superior flatness but I find that the side
gate rollers push the film edges away from the film plane. An easy fix is
to cut match cardboard into small pieces and insert them in front of(under)
the spring tabs.

The three versions are all 120/220 switchable.

Best of all, it's comparatively (very) inexpensive and reliable.

Pentax 67 Astrophotography:

byen@ix.netcom.com (B Yen), an astrophotographer, posted some very
interesting info on some little known Pentax 67 options. He writes:

Danny Gonzalez wrote:

 Bob,
 In your post you wrote of a BORG 500/4 that is compatible with the Ptx 67
 Can this lens be used for everyday photography? If so, how much does it
 cost and where might one buy it?
 Thanks,
 Danny Gonzalez

      I guess you could, and it would probably be a superb performer (color
correction for astro stuff is pretty rigid, as is for spatial
correction).  You might consider a well-known US manufacturer of ED
refractor telescopes -- Astrophysics (in Illinois)  Pick up an issue of
Sky&Telescope, they advertise there.  They have Pentax 6x7 photographic
accessories (like field flatteners).  Some of the BEST astrophotos have
been taken with these lenses (They compare well with Zeiss & Takahashi
refractors, which supposedly are the 2 best).  I have their 600mm/f6 (4"
aperture, ~$2k) and 1000mm/f8 (5" aperture, ~$2800) EDT scopes.  There is
also a 750mm f6 (5" aperture, ~$3000), 1000mm f7 (6" aperture,
$3500-$6000), 1200mm f7 (7" aperture, ??), 1500mm f9 (7" aperture, ??),
available.  They work GREAT for terrestial stuff..(got some killer shots
in Baja)  However, their stuff is custom order and you  might have to wait
several months, or longer (or you could get one used)

      I'm seriously thinking of getting a BORG myself, BUT...  I JUST checked
a Japanese amateur astronomy publication -- the BORG125ED f4/6.4ph is
398,000 Yen (at current exchange rate 1 us dollar=114 yen), this is
$3491.. (ouch)  Remember, this is an ED lens with "dual" capability,
800mm/6.4 or 500/4 (I assume a reducer is used for latter).  Tack on duty
(I haven't figured this out yet.  Help, someone?), and it ain't cheap..
They also have the BORG125 6.4ph for 298,000 yen (single purpose
800mm/6.4).  They also have smaller aperture lenses, for less $$.  That
Pentax 400/4 SDUF lists at 219,000 yen (~$1900).  I'm even considering it
as well..  There is a brand called Takahashi, who makes fluorite
refractors (with medium format adapters).  Their 5" f8 is around $6000
(could be more), and their 6" is $22,000 (!!)  <-- a "custom" built scope.

   The BORGs & Pentax astro lenses (and even "standard" Pentax 6x7 lenses)
are quite popular with Japanese astrophotographers.  Many of them adapt
hi-quality 35mm lenses (e.g. 400/2.8, 85/1.2L Canon) to medium format
bodies, which produces a circular image.  I just saw an article, where
some are adapting such lenses (even a Schneider lens. large format?) to
4x5 backs.  A few hardcore astro-photographers in US use 4x5.  Most U.S.
amateurs are 35mm oriented.

Bob Yen

Very Interesting......

Bronica GS1:

        The Bronica GS1 is a tempting camera that I've never used. On the
test front, its lenses are consistently great (especially the 100 3.5 which
handily *killed* the competition in Foto magizin's tests)  and the comments
that I've heard from users bear that out. In the size dept., it's design is
very definitely H'bladesque; it's small enough, but it's a little strange
to use vertically as is (to me 'as is' means w/ a prism but without the
grip).

        If you add the speed grip, the convenience factor goe's up enormously but
the camera gets to be quite a handful. If you're going to be street
shooting with this camera, you're going to need the grip;  with the grip,
the camera is just too noticeable (Very sore thumb time). Then again, if
you're using fill flash on an SLR, the GS1 is a lot easier to handle
handheld (in full AE prismed regailia), than the RZ is and its the only 67
to offer TTL auto flash.

        The GS1 lenses could focus closer and are the slowest of the contenders
(bar the Mam7), still,  it's the best available execution of a 'do
everything' ideal in 67 SLR'dom. The GS1's greatest strengths are that it's
reasonably small and light, it's completely modular (w/interchangeable
backs), it's well built and reliable, has ISO databus connection between
each back and the prism and is well automated with the AE rotary prism
(spot option) or the easier to use and far smaller AE prism.

        Its greatest weaknesse's are that the lenses aren't fast enough (Pentax
wins), nor do they focus closely enough (Rz wins) and it's seriously
expensive new (Pentax absolutely rules here). The backs are easy to load
and the newer Polabacks sport ISO dials. The camera is reasonably smooth in
use (loud though) and focuses positively with the standard screen. Lens
selection is limited but useful. I'm pretty sure that the newer SQi/AEIII
prism will make its way to this camera at PMA '97 making the metering
options more extensive and easier to use (It didn't happen yet).

        The question that needs answering when you look at this camera is can you
live with a best-of/ worst of, compromise of both the Rz and the Pentax? No
fast lenses, ever... and $500 extension tubes (not sets, single tubes!).
I'll bet the Tamron partnership will fund a major update of this design
within the next year.

        According to a few used equipt. dealers in the British photo magazines
there have been two versions of this camera (and Bob Shell spoke of an
earlier, older, flarier version of the lens series). I don't have any
concrete information on this and would appreciate it if someone out there
could make me aware of the differences (or a detailed history of the
lineage).

         One (More imperative) thing though, this camera does not hold its
value very well -at all-. It's one of the only cameras that's readily
available on the used market at less than 50% of its new price, in mint
shape.

GS1 MLU:

        It has come to my attention that the Bronica cameras are undeservedly
misrepresented in a major medium format guidebook as having a terrible MLU
procedure. While it is complicated to write up the sequence, it is fairly
intuitive in use. Mark (mlafly@aol.com) writes:

"The first step is to lock the mirror up with a lever located on the right
hand side of the camera (front left on the GS-1). Expose the film (Note:
You can elect not the expose more than one MLU'ed frame and then continue
with the next step). BEFORE winding the film, move the MLU lock up lever
back to its original position. Wind the film normally.

A couple of things to note: If the film is wound first, resetting the MLU
lever to normal will trip the shutter, exposing the next frame. That is why
it is imperative to reset the lever first. Naturally, if you are taking
multiple shots of the same subject with the mirror locked up (bracketing,
for example), the film can continue to be wound without resetting MLU and
the mirror stays up, while the shutter fires at advance completion. With
the winder on the ETRSi, you cannot use MLU without sacrificing every other
frame as the winder advances the film immediately after exposure. Here,
again, if you are intentionally taking several repeat exposures with the
mirror up, you'll use each subsequent frame until the time you wish to
reset the mirror."

Mamiya RZ/RB:

        The RZ/RB cameras are basically miniature Graflex Super D's and
suffer from a size/weight problem. The RB takes two actions to advance to
the next frame and is (in my mind at least) much slower to use than the
others reviewed here. There have been three models of RB67 cameras, all are
completely mechanical and fully modular designs. The RB evolution, in
ascending order, is:

        The original RB67Pro, which lacks darkslide and wind-on/double exposure
interlocks, as well as lacking in-finder, horizontal frame indications (the
red bars that automatically position on back revolve. There are indicators
etched on the focus screen).

        The RB67 Pro-s, which differs from the earlier model in that it has
interlocks for darkslide, double exposure/wind-on,  a focus-knob lock and
the aforementioned 'red-bar',  auto, in-finder frame indicators. A new
Pro-S back series was introduced and is needed for full function of the
D'slide/dbl. exposure interlock system.

        The latest model is called the RB67Pro-SD. It's biggest improvement is a
larger lens throat, built that way to accept the newly redesigned K/L lens
range. It is the only RB capable of using the new 75mm shift and 500/6 APO.
Older 'C' lenses will still mount via a Mamiya supplied adaptor. Two other
new accessories were introduced with the SD: the 6x8 back that's only
usable on the SD model (I believe) and a motor driven back (for both the
ProS and SD models).

The newest (SD) K/L lens series will mount and function  on the older
models (via a push on/pull off spacer ring).

    *Some important (slightly edited) info from Mamiya's Martin Silverman of
interest to RB owners:

The old style RB 'C' lens shutters were changed in 1978-79 to a newer
style. Shutter blade "colour" changed from dull black (OLD 'C'), to
silver grey (NEWER 'C'). There is no serial number correlation to a
particular lenses and/or shutter's age. RB lenses with the old style
shutters should NOT be used on RBSD or RZ cameras, because they put too
much stress on the cocking mechanism .

        All of the RB models are mirror and shutter cocked via a large lever
mounted on the cameras right hand side. After this is accomplished, you
must wind the film on to the next frame via each backs advance lever, which
looks and operates like the advance lever on a standard, classic 35mm
camera. The process is slow and it's easy to forget one operation or the
other when you're in a hurry. Other than that (and the lack of any
electronics or meter coupling), the RB cameras (from the interlock-added,
ProS model onward) operate in a way similar to the RZ67 described below.

        The Rz/RzP2 is single step advanced and much faster to work with.
IMO, the lenses are a step above the Ptx. 67 and the meter (with the AE/AE2
prism) is exceptional. Faster glass is available (75 3.5, 110 2.8, 150 3.5
APO and a 500/6 APO ) and you can focus VERY closely. Problems arise from
the cameras balance at even mildly close distances though (It gets very
front heavy and the mirror action gets hard to control when handheld at the
closer end, forcing the use of faster speeds). The revolving back and the
leaf shutters are very convenient and, with a grip, the camera is very
handholdable ( just not for very long). It's beautifully made, has great
film flatness but is big, noticeable and very expensive. I love it but the
weight/balance issue makes it to fiesty to use all the time.

        Bottom line is that a Ptx 67 does better in the studio than this camera
does in the field, but when the slides come back, the RZ wins. Lenses of
note: The 50mm (best of Foto Magazin 50's), 65MLA,  the 127 and the 180.
Any of the APO lenses (bar the 210 as the 180 is a better lens IMO, to the
contrary of Mamiya's published MTF's).

        Differences between the Rz and the RZII are the addition of half step
shutter speed settings in manual mode, a fine focus adjustment wheel and
Icon etchings on the focus screen for the interlock warning lights (all
additions are to the newer RZII body).

        The AE prism (RZ/RZII only) offers all of the features of the 645 Super/Pro
prism (Shutter scale LED's, AE lock mode, Spot, averaging and three zone
matrix metering modes; exposure comp. in third steps over a +/- 2 stop
range).

        The AEII prism (for the newer RZII) offers half step meter dots on the
shutter scale (for use only when mounted on the newest RZII body) , a flash
confirmation signal, imprinted on-the-screen icons for the in finder
warning lights and a second, right hand side, manual metering LED array.
This allows for finer control over manual metering, though the price is
smaller view magnification and a more cluttered finder field.
The film backs are exceptionally easy to load and all have ISO keying. The
camera is very smooth in operation but is also very loud (it makes a swoosh
sound as compared to the Ptx/Bronica _crack_ sound).

        The RZ and the RZ pro II bodies are identical save for a few nicities the
ProII has that the 'plain' RZ lacks.

        The ProII has a 'fine focus' knob (I never heard anyone
complain about abrubt focus movement on the original),
accepts the new ProII AE2 prism that sports a null LED scale for manual
metering (instead of the older AE prism's match the blinking shutter
speed) and has shutter speed settings for half-stops.

        The newest ProII backs have frame counter windows in both
vertical and horizontal positions and though the new versions inserts
aren't interchangeable with the older backs, the new backs are
fully functional with the older RZ bodies (I stress that because backs
aren't 'standard issue' on either the RZ or RZproII).

Lenses:

        The major lens series differences were the early, wholesale jump to
half-step aperture click stops on the lens line. While there were no
optical improvements, the earlier 'non-W' lenses, are the oldest.'W' as in
110 2.8W, is the 'second' series.

    Specific lenses came up for improvements later in the 'W' series, These are the:

        The third series of lenses for the camera is the currently available 'APO'
line. The range consists of the 210 4.5, 250 4.5, 350 5.6 and the 500 6.0.
These are Mamiya's equivalent to 'ED' lenses of other manufacturers (and
to H'blads 500 APO, but nowhere near the correction levels attained by the
H'blad 250 5.6 Super Achromat). I've only used the 210 and don't find a
performance improvement over the 180 4.5N I've also owned/used. One thing
I do notice with the 210 APO is far worse flare control (over the almost
'flareless' 180)

        The fourth major change in the RZ lens line came from Mamiya's update of
the lens line for the RBproSD, the RZ's sister camera. Though the changes
are mostly on the wide angle side and there are still some RBproSD series
lenses that are unavailable in electronic mount (though they'll mount and
function on RZ's as manually set metering lenses fine). The designation 'M-LA'
reflects the addition of a manually set floating element which corrects
field flatness at closer focus distances

        The 65 4 gains some weight, size,  a floating element and a huge price tag
(another kind of  'floating element') becoming the 65 4.0 M-LA.
The 75 3.5 very briefly appears as a floating element (M-LA) lens before
being discontinued three years ago.
The 140 4.5 macro becomes a  a floating element MLA lens.

steveg@cloud9.net (Steve Gundersen) wrote:

        RB lenses can be used on the RZ but you lose the electronically
controlled shutter of the RZ lenses and the metering ability of the AE
finder.

        You can also use RB backs on an RZ with the aid of an adaptor but in
this case you lose the single action film advance/shutter cocking as
well as double exposure prevention and no exposure prevention if the
darkslide is still inserted.

        All the finders fit both models but depending on which models are
involved the functions might not be usable on some of the electronic
ones. The same can pretty much be said for the grips as well (though it
wouldn't make much sense to put the RZ's electronic grip on an
RB: in which case there'ld be no working shutter button.

        Only the RZ has a motor drive that both advances the film and cocks
the shutter but the RB does have power winder backs for advancing the
film.

Mamiya 7:

        The Mamiya 7 is a great choice if street photography is what you
want to do , but it is expensive. The lenses (though great I hear; the 150
certainly is, as are the Mamiya 6 lenses they're based upon) are very slow
and don't focus closely at all. For 'small and light' only the Plaubel
67/670 beats it (But doesn't have interchangable lenses). If you like
rangefinder cameras, it's obviously the best choice in current 67. If you
do alot of street portraits, try it with a Ptx 67 or Bron GS1 first. If
these are just unhandleable for you then the Mamiya 7 is what you should be
having.

        The meter is a good improvement over the one in the older version of the
Mamiya 6 (which is overly sensitive to extraneous light IMO)(Newest 6 and
6MF bodies do not suffer as badly from this problem) ; the rangefinder
image is very large and distinct (just like the six). Other attributes are
the 43mm lens (close focus only to full length body shot ), a true
apochromat 150mm 4.5, 120/220 switchability, an almost absolutely silent
shutter, great ergonomics and the AE meter with nicely integrated (and
typical of all the late Mamiya's) AE lock mode.

        An interesting quirk I've noticed (with 5 different Mamiya 7 bodies) is
that the 65mm and 150mm lenses appear, via the rangefinder, to focus
slightly past infinity. The camera/lens that I own (M7/150mm) is in-sync.
with the lenses engraved scale and not the r'finder image (at infinity
only. This could be in keeping with the 150's APO status, which may
indicate use of temperature sensitive glass and so, may be intentionally
designed to focus past infinity). Interestingly, I've yet to take a
misfocussed picture with the combo but I'll update you the next time I post
the overview (no problems to report 2/97.)

        New introductions for the 7 at Photokina '96 are a close up adaptor that
focuses on an 8.5 x 12 inch area with the 80mm (and only at that distance)
and a top mounted finder for the 150mm. I expect a 110mm with 'eyes' at the
PMA show in February 97 (AFAIK, it didn't happen).

Plaubel 67/670:

       Finally, the Plaubel 67/670. This camera is very nicely done but
isn't even close to reliable. Prone to frame overlap, bellows leaks,
control arm misalignment and meter outages, it shouldnt be knocked around
casually. The 67 version is a modern, folding bellows type R'finder with a
built in meter and a 80mm/ 2.8 Nikkor lens that does very well. The 670
model adds grip ridges, full lens multicoating (instead of just the front
and rear elements, I guess, as the 67 lens is multicoated; at least to some
extent) and 220 capability to the design. A truly rare 67w model was
available with a Nikkor 55mm/4.5 as well. Beautiful to look at and use, it
is out of production and so, is strictly available as a used item. Prices
for these have been climbing rapidly since the introduction of the Mam 7.

        The 67 is going for around 1000-1600, the 670, from 1500-2000 and the 67w
from 2000-3300 (contrast to the $3300 for the M7 w/ the 80mm, sans rebate).

        On the plus side, the meter is a fairly accurate LED thing that
lights up when you hit a button on the camera back, it has a leaf shutter
with standard 1-1/500th speeds and a fast 80 2.8 lens. Focus is
accomplished with a thumbwheel that surrounds the shutter button and the
camera folds very nicely flat and so can be considered the most compact 67
option. The camera focuses to 0.8 meter (as compared to the Mam7's 80,
which focuses to only 1 meter)

        Minuses are: Reliabilty, strangely confusing shutter and aperture
controls and, some say, wide open lens quality (to be fair though, this
lens has a reputation for being among the best that ever was *inclusive* of
wide open quality. Mine has a rangefinder that's ever so slightly off so it
all depends on whom you ask.)

Fuji 67:

        The Fuji 67 is a film gate masked version of the Fuji 690 and has the same
90 3.5 lens (supposed to be quite good). There were a number of these
starting with an interchangable lens version and ending with a restyled,
2nd shutter release added, current model. None of these had/have meters.
People who've reported on them in the past seem to be pleased except for
size and noise concerns. There was an older Fuji 6x9 that had
interchangeable lenses. It shows up on the used market every once in a
while and users rave about the results it produces. If a user would like
his/her comments included here, please write me with your comments.

"Edward Gosfield III, MD" <gosfield@dolphin.upenn.edu> wrote:

The (Fuji 670) camera is lightweight, and the plastic body stays much cooler
in the sun than a metal body would.  There are a few minor flies in the
ointment which you should be aware of:

1. The lens hood intrudes into the finder area.  This is annoying,
especially when you are in a hurry, and when the camera is mounted on a
tripod and you don't want to have to swivel it around on the head to
check composition.  But you had better check each time unless you plan
on cropping the junk out of the frame.

2.  The rangefinder window is recessed in the front, which protects it a
bit, but makes it hard to clean.  The viewfinder window is relatively
easily scratched.

3.  I believe the RF patch and VF window are set for different visual
distances, and at least on my camera the edges of the RF patch are not
sharp when i am visually focused on the VF image.  This may be a
particular problem of my vision, but check for yourself.

4.  lack of Bulb setting on the shutter is very annoying, especially
since there is no self timer.  For very long shots, the official method
of setting T, pressing the shutter, then turning the lens-shutter
setting  to close the shutter works okay.  but not for relatively
shorter exposures like, say 2 to 10 seconds.   Lack of multiple exposure
is also annoying.

5. it takes a lot of practice to set the shutter and f stop
independantly, since they are very close together on the lens.  On the
other hand, they are so close together that they function like an EV
setting, and you can turn them both together easily.  I think this was
an intentional design feature.

6.  Mounting filters is a bit inconvenient since the threads are
somewhat recessed and the lens hood partially encloses them.

7.  The lens cap pops off easily. I have attached a velcro-tab keeper to
mine.

8.   If you use the standard mounting strap positions, it is easy to
trap the right side strap when closing the back after reloading.  This
will cause the film to be light struck.  After a few mishaps you will be
very careful loading.  I have corresponded with another user who's had the
same problem.

Choices:

        All in all, your choice really depends on what you want and what
you need. If you shoot with superwides, the Pentax 45m or Mamiya 7 43mm are
the widest (by 5 and 7 mm's). If you shoot fill flash, the 7, Plaubel, Rz
and GS1 (the GS1 has TTL flash as well) all have meter coupled leaf
lenses. If you shoot studio, the Rz and GS1 have 'normal' interchangeable
polabacks(the RZ has a far wider lens range). If you shoot sports, the
Pentax 67 has a 1/1000th shutter setting and hyperfast ED teles.

        Funny thing is that, with the exception of the RZ, there isn't a
camera here that couldn't stand a heavy improvement. Even the newly
introduced Mamiya 7 *needs* closer focus ability and faster lens options (a
Mam.7 100-110 mm option will be nice as well); in the face of that, any
choice here is going to be a compromise.

Danny Gonzalez
 
 
  

Inception Date: 14 February 1998

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