Cameras that are easily serviced would be a smarter choice. I decided on all mechanical for its simplicity and lack of electronics. I once craved a Contax 645 for my professional shoots, but service and parts are scarce in the industry even though the lenses are amazing. Understanding the zone system and metering handheld will forgo any need for electronics. Eventually, you won't need a meter at all except for determining long exposures at various apertures and reciprocity.
The GetDPI Photography Forum
Great to see you here. Join our insightful photographic forum today and start tapping into a huge wealth of photographic knowledge. Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! And don’t forget to say hi!
Recommendations for medium format SLR
- Thread starter tribal-warrior
- Start date
tribal-warrior
Member
I admit I hardly ever use a light meter for night photography (long exposures.) Though yea long exposures during the day are a different matter. I used to shoot Fuji Velvia on medium format and with that particular film stock, reciprocity failure started to kick in at only around 4 or 5 seconds if I recall correctly.
Stella Michaels
Member
I used to have a Mamiya RZ67 and found it fabulous - much more ergonomic than the positively clunky RB. The lenses were great, and the motorised base was fab to have in the studio. And you could remove it easily. The easy to swap screens were clear and really bright, and unlike Hasselblads, the gentlemanly WLF did not jab you in the nose or require the mag back to be removed when you wanted to swap it. The prism finder has a good built-in light meter.
Other big pluses: a huge 7x7 Polaroid, easy to load mags (with somewhere other than your bra or back pocket to park your film slide!) and the great pop-in, pop-out rubber lens hoods (SO much better than the Blad's extortionate, fragile and fiddly tin rubbish!) The mirror-up facility is easy and beautiful. So is the multiple exposure facility.
Most of all, having that built-in bellows that enables the camera to move focus from infinity to 6" and back in no time flat! Mamiya seem to be one of those weird manufacturers who actually listen to their customers and put their suggestions into practice!
I've used most film MF cameras on the market; the one that stands right out is the RZ. Its versatility enables it to handle anything you throw at it at with enormous quality and more easily and speedily than any of its opposition. You never have to fight it! It is a sheer delight to use, just smooth and easy from start to finish, and you wonder why the rest are so awkward in comparison. I found mine very reliable too - 20 years with not one problem!
One limitation: a max shutter speed of 1/400th which could prove tricky when using flash outdoors in bright sun.
Weight is an issue too, these are really studio cameras - though still a lot lighter than my Blad H4D!
For a lighter (6x4.5) version, look at the terrific Bronica ETRSi. Add a speedgrip and (the rather vital) prism and you have a camera almost as light and zippy as a 35mm SLR, yet with MF quality. Ideal for events/press/travel.
Both cameras can now be found at a tiny fraction of their pre-digital values. I still have withdrawal symptoms for my RZ!
Other big pluses: a huge 7x7 Polaroid, easy to load mags (with somewhere other than your bra or back pocket to park your film slide!) and the great pop-in, pop-out rubber lens hoods (SO much better than the Blad's extortionate, fragile and fiddly tin rubbish!) The mirror-up facility is easy and beautiful. So is the multiple exposure facility.
Most of all, having that built-in bellows that enables the camera to move focus from infinity to 6" and back in no time flat! Mamiya seem to be one of those weird manufacturers who actually listen to their customers and put their suggestions into practice!
I've used most film MF cameras on the market; the one that stands right out is the RZ. Its versatility enables it to handle anything you throw at it at with enormous quality and more easily and speedily than any of its opposition. You never have to fight it! It is a sheer delight to use, just smooth and easy from start to finish, and you wonder why the rest are so awkward in comparison. I found mine very reliable too - 20 years with not one problem!
One limitation: a max shutter speed of 1/400th which could prove tricky when using flash outdoors in bright sun.
Weight is an issue too, these are really studio cameras - though still a lot lighter than my Blad H4D!
For a lighter (6x4.5) version, look at the terrific Bronica ETRSi. Add a speedgrip and (the rather vital) prism and you have a camera almost as light and zippy as a 35mm SLR, yet with MF quality. Ideal for events/press/travel.
Both cameras can now be found at a tiny fraction of their pre-digital values. I still have withdrawal symptoms for my RZ!
Last edited:
Stella Michaels
Member
You bet! The RB is an old banger. My entire RZ outfit went for £900. Camera, prism, WLF, motor, 3 lenses, 3 film backs, Polaroid back, spare screen, strap, manual, 5 rolls of 120, and a flight case! Wish I'd hung onto my old Rollei 2.8 Planar. I paid £50 back in the 60s.. I see they go for £2500 now!
Last edited:
Yes, almost every film camera out of production has increased in second hand value the last years. Now, the RZ is more expensive than when I bought it. Here in Finland, our used camera store has one bargain left, the Fuji GX 680. Probably too big for most people, and the lenses can’t be adapted to other cameras. I have an Gx680 as well, but have been a bit lazy the last year, so I carry a Mamia 645 Super. The movements on the GX680 are superb though, and the lenses very good. I wait for the first 6x8 size digital back, that may or may not happen.
As a guy who has been on this train ride of analog medium format buying the last year or so (2022), the first question is, how much is your budget? If you're serious about your gear, have at least $800 at minimum to spend. You can do decent enough stuff around $400-$500, but it's a lot more gambling on those.
Overall, the smartest thing....BUY RIGHT FREAKING NOW! Seriously. Falling down rabbit holes trying to chase information on old and obscure cameras was full of prices that spell out plainly how bad the cost of all this stuff has gotten, and how it's only going to get way, way, way worse. These things are already out of date, out of stock, and hard to come by. Next year, it's going to be even worse. And so on and so on and so on. So, BUY RIGHT NOW, and don't regret it a lick.
Overall, the smartest thing....BUY RIGHT FREAKING NOW! Seriously. Falling down rabbit holes trying to chase information on old and obscure cameras was full of prices that spell out plainly how bad the cost of all this stuff has gotten, and how it's only going to get way, way, way worse. These things are already out of date, out of stock, and hard to come by. Next year, it's going to be even worse. And so on and so on and so on. So, BUY RIGHT NOW, and don't regret it a lick.
Well, interest in retro cameras, esp. Medium format film, MAY be a not so lasting trend. Who knows if the prices will drop radically after a change in the trend. Such has happened, and nobody can predict. The trend has indeed been increasing value, but that may not be true in the future. If there is no film available, for example, who want a film only camera with no use ? Market trends are crazy, or can be.
I don't think film is going anywhere anytime soon. Film companies have hung in there on during the 00's when the market was continuously shrinking so I don't think they would give up very quickly now that the market is growing again and they've been investing resources and expanding production.
BUT, I would agree that the second hand market for certain cameras might be a bit inflated at the moment and could go down again. Different cameras fall in and out of fashion all the time so the prices fluctuate accordingly. Also, it sort of depends who you're buying from. If you're buying from an older person who's had the camera since back in the day, you might be able to get a good price because they might not be aware of the current prices. However, if you're buying from some 20something guy who paid 4000 for a Mamiya 7II 6 months ago, you're not gonna get it for cheaper.
BUT, I would agree that the second hand market for certain cameras might be a bit inflated at the moment and could go down again. Different cameras fall in and out of fashion all the time so the prices fluctuate accordingly. Also, it sort of depends who you're buying from. If you're buying from an older person who's had the camera since back in the day, you might be able to get a good price because they might not be aware of the current prices. However, if you're buying from some 20something guy who paid 4000 for a Mamiya 7II 6 months ago, you're not gonna get it for cheaper.
Yes, I have observed the ’inflated’ prices and have thought that what if it is only for a moment ? My used camera stores are leading the inflating of prices, but I would not bet their business is safe and secure. Who knows ? I bought into Mamiya, both 645 and RZ in the early 2000 when pros were dumping them. But I wanted to test Hasselblad V and aquired a Hasselblad ELX for a good price half a year ago, mostly because it is not desirable. Ouch, those lenses are quite expensive, but that was the whole reason for testing the V.
The RZ system has become popular in recent years but at the same time I think the Pentax 67 system has become less popular than it used to be. And the Hasselblad V system has, interestingly, only become slightly more expensive than it used to be, say, 10 years ago. It does go in waves and with enough patience you can still get a good deal. But of course, if you want to buy from a camera store you're always paying a premium.
By the time no film is available will be a problem, I assume everyone here and their grandkids will probably be dead. Many of these cameras are already digitally compatible, and there's a small chance more options will come for that. That should help hold a lot of value alone. Now, here's a sad story that makes me question the trend notion being the biggest factor.
According to the research I was doing in old camera forums hunting for information, around the year 2000, there were 4-5 companies in the united states that could sell you a brand new Kiev camera for about $150. Around 2008ish, I found a posting of a guy selling one in a private sale for $75. That was the rock bottom price of my research. I'm not sure how many companies internationally sold them at this time, but I found mention of at least two that existed around the year 2000. Fast forward to today. There are 0 places in the united states to buy Kiev cameras new, and seemingly 1 company in the world that services or sells them, and it too was almost lost forever this year. There is no stock remaining of certain parts for the camera. When I began my search for a Kiev early this year, the floor price was around $300. Today it sits at around $450. And this is talking about one of the crappier medium format film cameras around. How bad is the stock of things that were produced with more care and consideration? Can anyone comment on how much a 500cm body cost in 2000? I think the floor is close to $800 now. I'm sure the hipsters are pushing some of these prices, but just not to the level scarcity is. You're buying antiques that are still usable and they will break. All that does is continue to diminish what's available, which continues to increase scarcity. The hipsters will come and go from the trend, but the rarity and quality of these old working tools will remain.
I can't comment on how much it was in 2000 but in 2008 the price for a for a 501cm with a 80mm CF lens was probably around $1500 but that doesn't account for inflation. And a new 501cm or 503cw with an 80mm CFE was around $5k if I remember correctly.
I find it so ironic that the best medium format film camera I think I have is a Kiev 60. It was CLA'd before I bought it, which, unless it's Arax doing the job, I'm suspect, but so far, I've been thoroughly impressed by how much better it's been than the rest, but of course, I'm wading in the shallow end of the medium format pool.
The best MF film camera I ever had & still have is the Fuji 680III, they can be bought cheaply & the lenses are superb. You have all the movements of a view camera, rise & fall, shift, tilt & swing. Its drawbacks are its size & weight, & it not being mechanical, but its a truly versatile camera system, which is worth investigating.
This is in my opinion the hidden gem. It is just so big that few want to carry it, and therefore considered non desirable. The great way to get a needed workout is to carry around a GX. Rewards to those who do.
But it really is huge! Or giant… cannot imagine to carry this all day.
I should learn to plan a shot , and that is not my strong side. However it could be an useful skill, and the I could consider to carry the GX for a specific shot.
