What's the best film camera for medium-format hand-held photography?

I'm a bit surprised you find the C220f finder "gloomy" - its about the brightest standard MF camera screen short of an Acute Matte screen for the Hassy. Just to be sure, you have the same version as mine in the previous pics? All black, no shiny parts, black wind knob with no fold out crank, says "Professional f" on the front? The original 220 (far more common) is prettier with chrome and folding crank, and only says "Professional" on the front (no f after). It has a much dimmer, traditional old groundglass screen and antique-style waist level with folding flap gaps that allow lots of unwanted light to strike the screen (killing contrast and visibility).

 

The dim 220 screen is not easily changed without a stripdown, the 220f screen is released by removing a single screw, which pops up a frame allowing the screen to slide out in one piece. Either way, both models are limited to the brightness they came with. Some repair shops can retrofit a Chinese aftermarket split image screen to the older C220, but its not that great and the cost is more than the camera is worth. The 220f is brighter to begin with, but far fewer were made, so no Chinese knockoff screens available. Tho you can use the nice Mamiya split image screens made for the C330S (also rare, compared to the much more common C330f- Mamiya's camera naming scheme was needlessly confusing).

 

One other sneaky thing to check: if your 105mm is the final "DS" version, it has a diaphragm in the viewing lens to allow depth of field preview. A nice feature, but poorly implemented: the ring has no clicks or spring loading, and is very easily knocked down to lower settings than fully open. If set lower than max f/3.5, the screen will be very murky.

 

All Mamiya TLRs can benefit from the non-folding magnifier hood with adjustable zoom: this really seals out all stray light and is very easy to focus, even with the slow 55mm f/4.5 wide angle. Typically runs about $60 on eBay. If you opt for a prism, be sure it is the squat small "genuine glass" prism that fits exactly on top of the body and bulges toward the front. The more common "mirror reflex" Porrofinders have flat fronts and hang over the side (like a beret): these offer a much smaller and dimmer view than the "real" prism (OK outdoors in daylight if you find one very cheap, otherwise forget it). I never cared for any of the Mamiya eye-level finders: when I need a prism occasionally I just hold a Hasselblad 45 degree prism over the screen (wish I'd bought one of the Hasselblad-to-Mamiya prism adapter plates when they were still made).

Yes, it's the same model as yours. Not sure whether it will tell you much, but here's the screen

Rick USE to post here, although I haven't seen him in a while.

 

With that said, he's local to me and I've bought a few screens from him over the years. I have his older "split image" screen in both my Rolleflex Automat IV and my Rolleicord Va, along with his newer "BrightScreen"(microprism) in my 500C.

 

Custom Fitted Focusing Screens

 

At $50, assuming it will fit, it's a nice upgrade to cameras you intend to use even if that is-in some cases-close to the value of the camera.

 

I will say that on my 500C, it's not necessarily any easier to FOCUS than the old ground glass(the GG was dim, but "snapped" nicely under the magnifier and I could reliably focus most anywhere but the edges of the screen)-I pretty much only trust myself to focus accurately with the microprism, and look at that under the loupe. Id DOES, however, make a big difference in how easy it is to compose-especially since I get even illumination out to the corners.

 

My recently acquired 500 EL/M came with a diagonal split screen, and even though I haven't actually used the camera yet I'm finding it a bit more difficult to focus with anything other than the split. I'm not sure whether or not it's an Acute Matte-it doesn't have the "Ds" but at the same time I understand that was only on last-gen screens. Whatever the case, it seems to basically be a super bright aerial image that's always in focus.

OK, C220F problem solved, and I'm going to have to make an embarrassing admission: I've had the viewing lens stopped right down; that's why my view has been so gloomy. Suddenly, there is light!

Rick Oleson upped his game in recent years, esp after acquiring the BriteScreen technology from the estate of its inventor. So I wasn't really thinking of him, but eBay type random screens from China that run about $40 and cost another $80+ to install. Of course intrinsic worth is a subjective thing, but I did weigh that option and decided getting the later model Mamiya TLRs with factory-standard improved screens was the better value (for me). The later models have additional improvements like MUCH better WLF sealing that make them more useful. In the specific case of the original C220, that camera is a total PITA to make screen changes compared to Rollei, Yashica, or even older Mamiyas: the 220 screen is a complicated affair and modern simplified replacements tend not to calibrate properly (not to mention the shims and washers that fly out everywhere if you don't operate in a clean room with assistants).

Re the diagonal split image screen that came in the 500EL/M you just received: that is almost certainly a Chinese knockoff eBay screen, and should be discarded. In my experience, confirmed by numerous reports here and at other forums, those screen frame heights are not calibrated quite right for Hasselblad, and/or only the split is of any use (the matte is essentially aerial, as you've noticed). One is usually better off with the original black cross screen: at least its accurate over the entire area (tho I prefer the 42250 or 42234 microprism versions, which sell for not much more than the black cross these days). Hasselblad DID briefly make a diagonal split image screen with microprism donut (42218), but it isn't as good as their plain horizontal split image screen (42188). Both these older ground-matte split screens are poor value today: they fetch prices high enough to rival the 42165 Acute Matte plain cross, which blows either of them away (even without focus aids).

Yes, it's the same model as yours. Not sure whether it will tell you much, but here's the screen

Great! Thats the model with bright/easily changed screen. Glad my tip re the viewing diaphragm solved your brightness problem! Now you should have a viewing/focusing experience similar to or better than your 503cw.

Your 220f can accept any of the optional bright split image, checker or microprism screens made for its companion 330s, but NOT the more common 330f screens. The S screens are modern one-piece affairs: just a flat of high-tech frosted plastic (the older darker 'F" screens have a large thick aluminum frame cap attached). To change the screen in your 220f, simply remove the screw to the left of the silver finder release knob on the rear top edge of the camera. The frame should pop up, and the screen is easily pulled out via a small tab on its edge (use a tweezers). Optional screens slot right in, press down the frame, and replace the little screw- done in a jiffy.

Only drawback to using 330s screens in the 220f is they don't have the two parallax lines scribed on the original plain screen: instead they have translucent numbers along the left edge meant for use with the 330 mechanical parallax bar. With practice, you can eyeball the numbers as parallax/bellows compensation markers. Or, just use a razor blade to scribe DIY parallax lines on the new screen (or use removable thin black tape made for this purpose). Below is the 330s/220f "B" screen:

Great! Thats the model with bright/easily changed screen. Glad my tip re the viewing diaphragm solved your brightness problem! Now you should have a viewing/focusing experience similar to or better than your 503cw.

 

Your 220f can accept any of the optional bright split image, checker or microprism screens made for its companion 330s, but NOT the more common 330f screens. The S screens are modern one-piece affairs: just a flat of high-tech frosted plastic (the older darker 'F" screens have a large thick aluminum frame cap attached). To change the screen in your 220f, simply remove the screw to the left of the silver finder release knob on the rear top edge of the camera. The frame should pop up, and the screen is easily pulled out via a small tab on its edge (use a tweezers). Optional screens slot right in, press down the frame, and replace the little screw- done in a jiffy.

 

Only drawback to using 330s screens in the 220f is they don't have the two parallax lines scribed on the original plain screen: instead they have translucent numbers along the left edge meant for use with the 330 mechanical parallax bar. With practice, you can eyeball the numbers as parallax/bellows compensation markers. Or, just use a razor blade to scribe DIY parallax lines on the new screen (or use removable thin black tape made for this purpose). Below is the 330s/220f "B" screen:

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Thanks for this information, orsetto. Really good stuff. You may have saved me a packet.

......I prefer the waist level hood on my Mamiya TLRs. The prism (and cheaper dimmer porrorfinder) handle MUCH better with the side grip. Mamiya had a very comfortable side grip which makes WLF or prism viewing more steady: see my pics below. ...

IMO this grip is very uncomfortable used together with the WLF, Mamiya made a turnable grip too.

Mamiya 645 cameras feed from side to side

They most certainly don't!

The inserts load top to bottom and are common to both the older fixed-back cameras and the interchangeable magazine series.

One peculiarity is that the focal plane shutter on the old metal bodies runs vertically, with a short-side travel, while the plastic-bodied cameras have a horizontal (long-side) travelling shutter. This does seem to reduce vibration on the later models. It's just a shame that they tend to fall apart, because if and when they work they deliver really nice results.

Just realised maybe you were referring to the rangefinder 6 or 7 models? Or the Bronica RF645?

IMO the most important thing with Mamiya TLRs is the design of the WLF, the one shown on orsetto`s pics is the fully enclosed new design, the older not fully enclosed reflect your face when used in bright light, (C220 old, C220f maybe old or new, C330 old, C330f maybe old or new, C330s new)

and dont use such a baby with prismn finder, a 6x6 prisma is a hefty piece of glass and makes the cam unbalenced

Very happy I (eventually) managed to help you find a no-cost brightness solution, rexmarriott- and if anyone should be embarrassed, its me for not thinking of the sneaky preview diaphragm issue as soon as you mentioned owning the Mamiya 105mm. Its an easy glitch to overlook, since none of the other lenses have it. BTW, just checked my own 220f again: re screen changing, I forgot when you remove the little screw a small metal plate may come off with it, then you also need to press the little release latch tab (that the removed plate secured) to make the screen frame pop up.

Would a type E screen do the job? By the look of it, it is a split-image screen with line-guides on it.

IMO this grip is very uncomfortable used together with the WLF, Mamiya made a turnable grip too.

Comfort and handling is subjective, of course, but these grips are cheap enough that it isn't difficult to try them out. And one's feelings can change over time: at first I hated very the idea of grips and refused to use them with any camera. But both my Mamiya C220/330 and Hasselblads came with grips: eventually I fished them out of storage to play with, and discovered they actually are nice to use in some configurations for some types of shooting. Grips add bulk and weight, so I don't want them all the time, but have increasingly found them useful.

A grip seems counterintuitive with WLF until you try it awhile. I have jittery hands, so a side grip helps me stabilize cameras with WLF enough to get a more steady view thru the finder (not to mention aligning verticals in the shot). With the Hasselblad, a side grip also gives me more leverage to turn the ridiculously heavy focus ring on some lenses. With the Mamiya TLRs, the side grip makes the whole thing feel less top-heavy and awkward handheld, and makes my right hand feel a bit freer and more responsive on the focus knob, shutter release (and shutter cock with the manual 220f). Shopping Mamiya grips can be tricky, as there were a great many variations (and each feels different).

IMO the most important thing with Mamiya TLRs is the design of the WLF, the one shown on orsetto`s pics is the fully enclosed new design, the older not fully enclosed reflect your face when used in bright light,

Emphatically agree with you on the crucial importance of getting the very latest, best-sealed WLF hoods for Mamiya TLR. The older flappy hood has more gaps than Swiss cheese, allowing loads of stray light to hit the screen (even indoors) and causing annoying reflections of your own face. IMHO the Mamiyas are virtually impossible to use with the old type WLF: they absolutely require the newer one, to the point its worth buying a whole newer body (if necessary) to get one. The "good" hoods are easy to identify, as only two were made: one has lid cosmetics that match the C330 (and the sportsfinder feature), the other specifically matches the final C220f in my pic (no sportsfinder). The older unpleasant hoods for C330 have telltale silver struts, and/or a non-integrated magnifier that floats above with gaps all around. Worst is the old "M" -leatherette hood for original C220 and all previous models like C22, C33 etc- gaps all over the place, uneven side flaps prone to breakage, folding magnifier completely unshielded- blecch.

The newest C330f hood can be retrofitted to any previous C330, and matches perfectly. Unfortunately it doesn't look right at all on the original 220 (or any of the older C22, C33 etc bodies with the same "M" embossed leatherette). It works perfectly, but sticks out like a sore thumb. The final 220f hood is another left-field "what were they thinking" update: works fantastic, even better than 330f hood, but doesn't look remotely correct on anything but the 220f. A little flexibility in replacement part swapping might have been nice.

With Hasselblad, its fairly simple. Both the old "manual fold" and new "auto fold" hoods are well sealed against stray light. But the new hood uses a fragile foam lip to seal out stray light at the front hinge: when this inevitably crumbles, the new hood is actually worse than the old. Aside from that, the only usability difference is square (old) vs round (new) magnifier glass (eyeglass wearers prefer the round), and the ability to swap eyepiece diopters on the new hood (in theory, anyway: the diopter flaps are scarce to the point of costing as much as the entire WLF).

and dont use such a baby with prismn finder, a 6x6 prisma is a hefty piece of glass and makes the cam unbalenced

Yes, the Mamiya TLRs are trucks to begin with, so adding the 90 degree prism really does make them impossible to handhold without a grip (and heavier with the grip). The prism is also not terribly bright. But sometimes a prism is a necessary evil. Its unfortunate Mamiya did not really think thru their own ergonomics, and just slavishly copied Rollei's 90 degree orientation. Rolleiflex works well with a 90 prism because its small and light, the Mamiya TLRs are a joke to hold against your face with a 90 prism. They handle FAR better with a 45 prism like the old Hasselblad NC2, which also happens to be bright and match all the Mamiyas cosmetically. I occasionally "MacGyver" the NC2 onto my Mamiyas and it works great, wish I had bought the clever third-party secure mount adapter when it was still available.

Would a type E screen do the job? By the look of it, it is a split-image screen with line-guides on it.

Yes, if you can find one: nowadays they only seem to be available from Japanese camera dealers on eBay. The E screen (and B, and all the others in this series) are of equal brightness to the standard plain matte screen that came with your 220f, they just add various focus or composition aids. I posted pics of my B screen (and the box it came in) as a guide to the screen type that works in your 220f. They must look like the one in my pics: plastic flat with no metalwork, silver box marked "for 330S"). The earlier, darker, far more common 330 screens come as an assembly built into a metal screen frame/tray, in larger black or yellow packaging.

Yes, if you can find one: nowadays they only seem to be available from Japanese camera dealers on eBay. The E screen (and B, and all the others in this series) are of equal brightness to the standard plain matte screen that came with your 220f, they just add various focus or composition aids. I posted pics of my B screen (and the box it came in) as a guide to the screen type that works in your 220f. They must look like the one in my pics: plastic flat with no metalwork, silver box marked "for 330S"). The earlier, darker, far more common 330 screens come as an assembly built into a metal screen frame/tray, in larger black or yellow packaging.

Thanks again, orsetto.

Having just walked the OP's walk, spending months to select a medium format system to get back into shooting film, I am curious about a couple of things:

1. Why the Mamiya 645 hasn't been suggested (whether the 1000s or the 645 Super, Pro or Pro TL).

2. Why a number of folks are giving advice that is pretty much ignoring the OP's fairly clear wishlist: wants to shoot outdoors handheld; doesn't want to use a WLF; doesn't want a TLR; would prefer 6x6 but seems like he can live with a 645...

I ended up going for a Mamiya 645 Pro with WG401 grip and AE prism finder. I also bought a 105-210mm f/4.5 lens and had earlier acquired a 210mm f/4 which I may well offload. My film rolls arrive shortly. So far the handling is pretty decent (handheld) and quite intuitive. The body is somewhat hefty with either lens attached, but certainly usable handheld. The split-screen focusing is a joy to use.

Finally, it would be nice to hear what the OP has to say about the suggestions so far :)

After much discussion with multiple posters pitching in to help, OP discovered he might not (yet) need another camera after all. He was relatively happy with his existing Mamiya TLR for home studio portraiture, aside from it seeming to have a very dark viewfinder. This was eventually traced to the easily-overlooked DOF preview aperture in the unusual (but excellent) Sekor 105mm f/3.5 DS viewing lens being accidentally closed several stops down. Opening the aperture up to maximum f/3.5 made viewing/focusing dramatically more pleasant, as this particular Mamiya TLR is a final '80s model with inherently brighter focus screen (compared to vintage TLRs).

The Mamiya 645 system was mentioned in passing, and I believe the similar Bronica ETR was as well. But these systems are rather similar to OP's other MF kit, which is a Hasselblad. Possible weight reduction and electronic AE advantages aside, overall the handling of the 645 systems would be similar to Hasselblad with a prism and side grip. OP has apparently decided to work with what he has for the moment, preferring the 6x6 square format, but I expect he'll revisit the topic if his shooting environment changes from home studio to increased street work. A change to 645 might become more appealing then, if the work lends itself to rectangular framing (and he finds a 645 system with viewing/handling characteristics that suit him).

Having just walked the OP's walk, spending months to select a medium format system to get back into shooting film, I am curious about a couple of things:

1. Why the Mamiya 645 hasn't been suggested (whether the 1000s or the 645 Super, Pro or Pro TL).

2. Why a number of folks are giving advice that is pretty much ignoring the OP's fairly clear wishlist: wants to shoot outdoors handheld; doesn't want to use a WLF; doesn't want a TLR; would prefer 6x6 but seems like he can live with a 645...

 

I ended up going for a Mamiya 645 Pro with WG401 grip and AE prism finder. I also bought a 105-210mm f/4.5 lens and had earlier acquired a 210mm f/4 which I may well offload. My film rolls arrive shortly. So far the handling is pretty decent (handheld) and quite intuitive. The body is somewhat hefty with either lens attached, but certainly usable handheld. The split-screen focusing is a joy to use.

 

Finally, it would be nice to hear what the OP has to say about the suggestions so far :)

Very happy to have the opportunity to return to this discussion.

As it happens, I had the good fortune to try out a Mamiya 645 Pro during this process. I thought it was a good camera. I liked the light meter display in the viewfinder and thought the camera was OK for hand-holding. Two things put me off: comments here about reliability and the noise of the motor drive, which I really didn't like. Had I bought a Mamiya, I would have wanted one with a hand-winder, which would have defeated the object, since the motor-drive serves as a grip for hand-holding.

After much discussion with multiple posters pitching in to help, OP discovered he might not (yet) need another camera after all. He was relatively happy with his existing Mamiya TLR for home studio portraiture, aside from it seeming to have a very dark viewfinder. This was eventually traced to the easily-overlooked DOF preview aperture in the unusual (but excellent) Sekor 105mm f/3.5 DS viewing lens being accidentally closed several stops down. Opening the aperture up to maximum f/3.5 made viewing/focusing dramatically more pleasant, as this particular Mamiya TLR is a final '80s model with inherently brighter focus screen (compared to vintage TLRs).

 

The Mamiya 645 system was mentioned in passing, and I believe the similar Bronica ETR was as well. But these systems are rather similar to OP's other MF kit, which is a Hasselblad. Possible weight reduction and electronic AE advantages aside, overall the handling of the 645 systems would be similar to Hasselblad with a prism and side grip. OP has apparently decided to work with what he has for the moment, preferring the 6x6 square format, but I expect he'll revisit the topic if his shooting environment changes from home studio to increased street work. A change to 645 might become more appealing then, if the work lends itself to rectangular framing (and he finds a 645 system with viewing/handling characteristics that suit him).

... and here is the orsetto inspired C220F

Tremendous! I'm looking out for a wide-angle lens for the C220F. I reckon that will round the package off very nicely.

The story doesn't end here. I watched 'McCullin', the documentary about Don McCullin. There are several deleted scenes offered as extras with the DVD. In the last of these, McCullin speaks very briefly about his camera. He says that he asked David Bailey about shooting bigger formats and Bailey advised him to get a Mamiya Press camera. We see McCullin taking landscape photographs hand-held in Somerset. McCullin says something about how he's had the camera for 30 years and how much he loves it.

I was unable to resist the lure of the Mamiya Universal Press, inspite of the fact that, at the moment, I can only print up to 6x6. There is a film-roll holder for the camera that makes 6x6 possible, but the process looks too fiddly. Besides, I made some 6x9 negatives and scanned them and thought: 'I like this.' The Mamiya Press won't win any beauty contests and it is heavy, but with a left hand pistol grip and what serves as a second grip on the right of the film-roll holder, it is great for hand-holding.

Of course, I'm left with the problem that I can only print crops of these amazing negatives. The plan at the moment is to upgrade to a bigger enlarger that will print 35mm to 4x5. This will have to wait until next year. 4x5? That sounds interesting...

rexmarriott, you may have sent me a telepathic suggestion about the Mamiya Press: I just bought one on a whim about two weeks ago, perhaps the same time you did! Never even considered this type of MF camera for my own use before: I've always preferred reflex to rangefinder. But I couldn't pass up the bargain price it was offered at, and wow am I glad I didn't: the Universal is a really fun addition to my stable. As heavy as my Hasselblad with grip and prism, if not more so, but as you mentioned: 6x9 real estate! I really need to track down that McCullin documentary now...

Its taking me awhile to acclimate to the rangefinder and swap 'square vision' for 6x9, but I think eventually I'll get some pics with this rig that would be impossible with either the 'blad or C220. I'm trying very hard to resist the lure of the amazing 75mm and 50mm wides made for this system: they're only available now from Japanese sellers at prices that approach Hassy glass. But imagine how they'd perform in tandem with the super-flat Press film magazine!

Speaking of wides, I don't think you can go wrong with either made for your Mamiya 220f. I have both, and it can be tough to choose between the 65mm and 55mm. The 55 is wider but slower: f/4.5 can be challenging indoors, and it flares outdoors in bright light even with the convoluted custom Mamiya hood. The 65mm is faster at f/3.5, and more suited to street, environmental portraits or group shots. The 65 would also make a nice two-lens combo with your 105mm (both together are smaller and lighter than any Hassy wide). Its worth looking for the "blue dot" shutter cocking lever on these: newer is usually better with the TLR wides. The 55mm in particular was known to have better quality control in later batches (serial number starting with 8 or 9, or blue dot + six digit serial starting with 1).

rexmarriott, you may have sent me a telepathic suggestion about the Mamiya Press: I just bought one on a whim about two weeks ago, perhaps the same time you did! Never even considered this type of MF camera for my own use before: I've always preferred reflex to rangefinder. But I couldn't pass up the bargain price it was offered at, and wow am I glad I didn't: the Universal is a really fun addition to my stable. As heavy as my Hasselblad with grip and prism, if not more so, but as you mentioned: 6x9 real estate! I really need to track down that McCullin documentary now...

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Its taking me awhile to acclimate to the rangefinder and swap 'square vision' for 6x9, but I think eventually I'll get some pics with this rig that would be impossible with either the 'blad or C220. I'm trying very hard to resist the lure of the amazing 75mm and 50mm wides made for this system: they're only available now from Japanese sellers at prices that approach Hassy glass. But imagine how they'd perform in tandem with the super-flat Press film magazine!

 

Speaking of wides, I don't think you can go wrong with either made for your Mamiya 220f. I have both, and it can be tough to choose between the 65mm and 55mm. The 55 is wider but slower: f/4.5 can be challenging indoors, and it flares outdoors in bright light even with the convoluted custom Mamiya hood. The 65mm is faster at f/3.5, and more suited to street, environmental portraits or group shots. The 65 would also make a nice two-lens combo with your 105mm (both together are smaller and lighter than any Hassy wide). Its worth looking for the "blue dot" shutter cocking lever on these: newer is usually better with the TLR wides. The 55mm in particular was known to have better quality control in later batches (serial number starting with 8 or 9, or blue dot + six digit serial starting with 1).

I've got a bid in at the moment for the 65mm C lens. We'll see.

I can recommend the McCullin film. Of course, he's best known as a war photographer working with 35mm, but they also show some of his landscapes taken with the Mamiya Press and they are mightily impressive.

I rather rushed in to getting a 65mm f6.3 lens for the Mamiya Press on eBay and saw the same lens yesterday in a local high street camera shop for less than half the price.

taking in consideration you stated max = 6x6, but thinking out of the box i would look at a Mamiya 7, multiple focal lengths available, and nice lightweight camera.

I am big fan of Hasselblad and Pentax 6x7,but Mamiya 7 could be an alternative to think of. Best greetings.

If you are going to lug a large heavy camera around, it makes sense to use a tripod too. ... Why blow it with camera shake?

"The best lens I own is a tripod."