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

[c_watson1]

No issues using the later Mamiya 645(Super/Pro/ProTL) with a prism finder, a drive grip and an 80/2.8. They're an ergonomic mess without the grip which improves handling but also increases the noise level. Swappable film backs are a bonus. A monopod does come in handy in iffy light. They're also undeserving of the failure-prone POS label some habitually slap on them. YMMV, as usual.

[rodeo_joe1]

They're also undeserving of the failure-prone POS label some habitually slap on them.

 

- The mirror rest/brake on yours obviously hasn't cracked then.... yet!

 

I'd call a 3 out of 3 (2 supers and a ProTL) failure rate in as many years a pretty poor record. Even my Kowa 6 lasted longer than that.

[Jochen_S]

Side grip for the Hasselblad?

Probably the way to go!

I'm no Hasselblad fan.

• Frequent need for extension tubes (sometimes already for portraiture)
  
• slightly more awkward reloading
  

My big eye level camera experience always involved grips (Linhof) or hammerhead flash attached cable releases for the left hand. - I wasn't really successfull adapting a Mamiya 645 system grip to the TLRs, but yes, such a grip would be the way to go if I wanted to use my prism finder. - I prefer WLFs and chimneys. People look better shot from that POV and it takes significantly less strength to hold the camera. So for 1.88m me it was absolutely worth getting used to those finders.

 

I have a Pentacon 6; the film spacing is not even but did not yet produce overlayed images. I'd call it waiting for disaster to strike. No clue if the Exakta using the same mount is more reliable.

 

I really recommend using the 'blad you have. Get a reliable strap, do the security drill (i.e. never place it on a table with strap dangling down) and get something out of the money, you sunk in it. <- Yes, I have been there too. I really felt not good during the start of my Monochrom relationship. Even leaving it at home did not feel "right", since I'd have loved to have a more solid door there...

Get over the "investment"! - The odds that you'll get much (or "enough") back, when you resell, seem dwindling. (<- Things are worse with digital but for every reason mentioned against film people will be unlikely to spend fortunes on premium gear to "just dip their toes once". Which seems the main reason to buy into film today. And hardcore users seem dying out plus most likely looking for well maintained budged beaters instead of pristine shelf queens in need of a CLA., if they haven't already scooped up more than they'll ever need.)

 

The Mamiya 6 was a quite lovely and tempting camera. - But AFAIK it is already facing spare part shortages? - For that reason I would not want to buy one now. + Maybe the minimum focusing distance of the portrait lens is quite limiting too. (I am not sure.) I did handle it at my dealer's, back in the day. What I did not really like: It was heavier than my old folding RF but yes, that camera has a squinty VF with a quite dim RF patch, so it is primary ultra portable.

 

There is not very much to recommend on the MF market. In doubt: Evaluate stuff hands on, before you'll buy! - I have not tried any 645. - In theory you'll save money on film and you might hopefully be able to get either a brighter focusing screen in a Pentax or a digital future for the lenses you'll buy. But I don't see a chance to acquire anything combining snappy focusing leaf shutter sufficient reliability low eight and acceptable glass beyond a standard lens for so little money that getting it on the side from what you already have seems worth it.

 

Anyhow: Shooting people won't be easy. MF costs you DOF / makes focusing one level harder than on 35mm, so you'll need time and light, lots of light, to eliminate camera shake and stick to your 1/500sec. But maybe you'll find a way to bring strobes / flashes and stands? - In that case a Pentacon with it's FP shutter won't get you anywhere... Maybe the Pentax 645 offers somewhat usable sync speed or some leaf shutter lenses? - IDK.

For portraiture I'd use my chimney finder magnifier flipped in, for focusing, flip it out for recomposing and use a medium aperture like f8-f16 to benefit from DOF, just in case. - Shooting my 135 & 250mms wide open wasn't that successful and seems too risky, considering film cost. With the EOS I'd shoot at f5.6 and could most likely rely on the AF to get it's job done + I'd also benefit from the IS, so I could maybe risk a 1/125 sec, so using MF hand held costs me about 3 f-stops.

[orsetto]

One more grip option that might be worth trying with your existing Hasselblad. This is my own outdoor "park portrait" setup: 500cm, NC2 prism, and pistol grip cm. Even my large 250mm Sonnar handles well this way (of course you need endurance training for your wrist):

 

Much lighter and more fluid would be a Rolleiflex TLR with pistol grip, or side grip like the Vivitar. photoyann10 posted a picture, and a good description of the ergonomics, in an older photo.net Rolleiflex grip thread here.

[c_watson1]

- The mirror rest/brake on yours obviously hasn't cracked then.... yet!

 

I'd call a 3 out of 3 (2 supers and a ProTL) failure rate in as many years a pretty poor record. Even my Kowa 6 lasted longer than that.

 

Sounds Iike a bad case of confirmation bias. Time to give the tar brush a rest.

[rexmarriott]

People. medium format, and handheld (without flash) can be a tall order. Modern 120 rangefinders are light, eyelevel, quick to operate, but rangefinder focusing for portraits is... problematic. The DOF with 6x6 is pretty slim at portrait distances, so you can't really fudge as you can with a 35mm Leica rangefinder. With 6x6 dedicated portraiture, it really does help to have reflex viewing.

 

The Linhoff and press type cameras are tricky beasts. Yes, they're optimized for handheld spontaneous shooting, but more along the lines of being gigantic candid-camera Instamatics that happen to use 120 film and cost a fortune (back when they were new). As Ed_Ingold noted, they were meant mostly for news gathering (where you're usually trying to document an overall situation, not necessarily trying to capture a fleeting expression in a single-person portrait sitting).

 

They were indeed used by some wedding pros, but here again (in those days) weddings were a very stylized setting with specific ground rules amenable to that type of camera. I don't think this would work too well today for the goals you expressed. Perhaps leave the Linhoff to collectors: fabulous in theory, but they tend to have hidden issues in the film transport and lens that 90% of repair techs are baffled by. When new, the cost was beyond ludicrous (more than a complete Hasselblad outfit), so they're scarce now. The rarity + cult-ish Rodenstock lens makes it collectible, but the film advance is a real danger point when working quickly (if you forget yourself and treat the Linhoff 220 like a normal camera, it will reward you by permanently bricking itself).

 

The Fuji 645 rangefinders won't do for portraiture because of the fixed wide angle lens. Even if you wanted to spend for the Mamiya 6, its rangefinder is notorious for mis-focusing with the 150mm portrait lens, so nix on that too. The recent Fuji/Voightlander folders are reliable, with great 80mm lens, but cost more than a Mamiya 6 outfit. Old folding rangefinders like Zeiss Ikonta are too slow to operate. That leaves us with TLRs and SLRs. A Rollieflex with prism and pistol grip is fairly small, handles nimbly, and will let you shoot available light at lower shutter speeds than Hassy. Or, you could cautiously experiment with the Pentacon/Praktisix that seems most appealing to you at the moment. Just, don't spend too much at first: like an old exotic car, they promise a lot but many spend most of their time in the repair shop. You might get lucky and find a good one, but its a crapshoot.

 

My suggestion: pick up an affordable Pentacon Six and see how you get on with it. If you feel instant love, and bond with it like glue, start saving your money to put towards a couple spare bodies, and have them completely overhauled by a Pentacon specialist with a rep for durable repairs. A good Pentacon has its handheld charms for sure, and some of the lenses rival Hasselblad's.

 

 

 

Yes, like this (Vivitar made a similar generic version which is just as good, and can be used with any camera). There was also a more modern Hassy side grip with more integrated, built-in shutter button and mechanical coupling to the camera shutter button (instead of a cable release coupling). Or perhaps better, a pistol grip. If you don't already have one, an Acute Matte focus screen with split image focus aid can be a night-and-day difference in speed of use. Still rather heavy, and (as Ed_Ingold often reminds us) not everyone can hand hold a Hasselblad and get tack sharp results without flash. Of course if you'll be using flash in your kitchen studio, no problem:

 

[ATTACH=full]1281782[/ATTACH]

What I like about the Linhof is its individuality, but I've definitely been put off by your comments (and others') about film advance. Besides, 120 film is expensive enough already (best price £4 for a roll of HP5+ in the UK) without me sacrificing a bit off each frame when printing.

 

I've looked at Pentacons on eBay and haven't been massively encouraged by what I've seen. Will chew over your comments though.

 

I guess I'm leaning towards making the best of what I've got. Maybe both my TLR and my Hasselblad can be made more suited by the addition of grips and better focus scenes.

 

Thanks for this info, orsetto; very useful.

[rexmarriott]

No issues using the later Mamiya 645(Super/Pro/ProTL) with a prism finder, a drive grip and an 80/2.8. They're an ergonomic mess without the grip which improves handling but also increases the noise level. Swappable film backs are a bonus. A monopod does come in handy in iffy light. They're also undeserving of the failure-prone POS label some habitually slap on them. YMMV, as usual.

Yes, this might be an avenue worth exploring. A 645 helps me to economise in the use of film (I'm kidding myself here, splashing out on photo kit as if there's no tomorrow). At one time, the default portrait format would have put me off. Since I've gravitated towards portraiture, this might turn out to be an advantage. I'm definitely considering a 645 as an option.

 

What is POS?

[rexmarriott]

Probably the way to go!

I'm no Hasselblad fan.

• Frequent need for extension tubes (sometimes already for portraiture)
  
• slightly more awkward reloading
  

My big eye level camera experience always involved grips (Linhof) or hammerhead flash attached cable releases for the left hand. - I wasn't really successfull adapting a Mamiya 645 system grip to the TLRs, but yes, such a grip would be the way to go if I wanted to use my prism finder. - I prefer WLFs and chimneys. People look better shot from that POV and it takes significantly less strength to hold the camera. So for 1.88m me it was absolutely worth getting used to those finders.

 

I have a Pentacon 6; the film spacing is not even but did not yet produce overlayed images. I'd call it waiting for disaster to strike. No clue if the Exakta using the same mount is more reliable.

 

I really recommend using the 'blad you have. Get a reliable strap, do the security drill (i.e. never place it on a table with strap dangling down) and get something out of the money, you sunk in it. <- Yes, I have been there too. I really felt not good during the start of my Monochrom relationship. Even leaving it at home did not feel "right", since I'd have loved to have a more solid door there...

Get over the "investment"! - The odds that you'll get much (or "enough") back, when you resell, seem dwindling. (<- Things are worse with digital but for every reason mentioned against film people will be unlikely to spend fortunes on premium gear to "just dip their toes once". Which seems the main reason to buy into film today. And hardcore users seem dying out plus most likely looking for well maintained budged beaters instead of pristine shelf queens in need of a CLA., if they haven't already scooped up more than they'll ever need.)

 

The Mamiya 6 was a quite lovely and tempting camera. - But AFAIK it is already facing spare part shortages? - For that reason I would not want to buy one now. + Maybe the minimum focusing distance of the portrait lens is quite limiting too. (I am not sure.) I did handle it at my dealer's, back in the day. What I did not really like: It was heavier than my old folding RF but yes, that camera has a squinty VF with a quite dim RF patch, so it is primary ultra portable.

 

There is not very much to recommend on the MF market. In doubt: Evaluate stuff hands on, before you'll buy! - I have not tried any 645. - In theory you'll save money on film and you might hopefully be able to get either a brighter focusing screen in a Pentax or a digital future for the lenses you'll buy. But I don't see a chance to acquire anything combining snappy focusing leaf shutter sufficient reliability low eight and acceptable glass beyond a standard lens for so little money that getting it on the side from what you already have seems worth it.

 

Anyhow: Shooting people won't be easy. MF costs you DOF / makes focusing one level harder than on 35mm, so you'll need time and light, lots of light, to eliminate camera shake and stick to your 1/500sec. But maybe you'll find a way to bring strobes / flashes and stands? - In that case a Pentacon with it's FP shutter won't get you anywhere... Maybe the Pentax 645 offers somewhat usable sync speed or some leaf shutter lenses? - IDK.

For portraiture I'd use my chimney finder magnifier flipped in, for focusing, flip it out for recomposing and use a medium aperture like f8-f16 to benefit from DOF, just in case. - Shooting my 135 & 250mms wide open wasn't that successful and seems too risky, considering film cost. With the EOS I'd shoot at f5.6 and could most likely rely on the AF to get it's job done + I'd also benefit from the IS, so I could maybe risk a 1/125 sec, so using MF hand held costs me about 3 f-stops.

I've been doing portraits of my wife (very patient, thankfully) and she said that she felt more at ease when I was using a waist level finder than a prism finder. Maybe it feels a little less intrusive.

 

I think you're right about the Hasselblad. The fears I have are illogical if they cause me not to get the maximum benefit for my investment.

[rexmarriott]

One more grip option that might be worth trying with your existing Hasselblad. This is my own outdoor "park portrait" setup: 500cm, NC2 prism, and pistol grip cm. Even my large 250mm Sonnar handles well this way (of course you need endurance training for your wrist):

[ATTACH=full]1281838[/ATTACH]

 

Much lighter and more fluid would be a Rolleiflex TLR with pistol grip, or side grip like the Vivitar. photoyann10 posted a picture, and a good description of the ergonomics, in an older photo.net Rolleiflex grip thread here.

For the Hasselblad do you have a preference, side- or pistol-grip?

[rexmarriott]

No issues using the later Mamiya 645(Super/Pro/ProTL) with a prism finder, a drive grip and an 80/2.8. They're an ergonomic mess without the grip which improves handling but also increases the noise level. Swappable film backs are a bonus. A monopod does come in handy in iffy light. They're also undeserving of the failure-prone POS label some habitually slap on them. YMMV, as usual.

OK, I've now got POS. No need to spell it out here.

[rodeo_joe1]

At one time, the default portrait format would have put me off.

 

Errrrm, 645s are landscape orientation by default. They need a prism finder to make them at all useable in portrait mode. And even then the handling becomes a bit 'wrist-twisty'.

 

The old metal M645s are slightly better in this respect, since they have a secondary shutter release.

 

WRT a waist level finder and portraits: For formal portraits the camera is usually tripod mounted. Therefore you can more-or-less focus and forget; leaving you free to make eye contact and interact with the subject. Talking around or through a camera isn't the best way to get a rapport with your sitter.

Edited February 6, 2019 by rodeo_joe|1

[rodeo_joe1]

Sounds Iike a bad case of confirmation bias.

What the hell is confirmation bias?

 

I suppose I've imagined the hundreds of other users that have reported broken mirror-rests then?

 

Or the gaps that have appeared between magazine back and camera body, or the loose shutter solenoids? Etc. Etc.

[rexmarriott]

Errrrm, 645s are landscape orientation by default. They need a prism finder to make them at all useable in portrait mode. And even then the handling becomes a bit 'wrist-twisty'.

 

The old metal M645s are slightly better in this respect, since they have a secondary shutter release.

 

WRT a waist level finder and portraits: For formal portraits the camera is usually tripod mounted. Therefore you can more-or-less focus and forget; leaving you free to make eye contact and interact with the subject. Talking around or through a camera isn't the best way to get a rapport with your sitter.

Sorry, I'd got the idea from somewhere that all 645s were portrait format by default.

[orsetto]

I've looked at Pentacons on eBay and haven't been massively encouraged by what I've seen.

 

I guess I'm leaning towards making the best of what I've got. Maybe both my TLR and my Hasselblad can be made more suited by the addition of grips and better focus scenes.

 

For the Hasselblad do you have a preference, side- or pistol-grip?

 

We've all been dancing around nearly every conceivable medium format camera configuration in an attempt to give you an overview of alternatives to what you have. But the irony is, what you already have is two of the three best systems ever made for portraiture (the third being Mamiya RB/RZ67). It may be a more productive use of money (and learning curve) to start by trying to accessorize what you already have into a configuration more suited to where you want to go. If after that you still feel confined, you'll be more certain about what you need in a third system.

 

Re Hasselblad: honestly I vastly prefer the WLF to any of the prism options, tho I will use the NC2 or PME occasionally for very active people situations, long tele work with the 250mm, etc. With the waist level finder, a side grip can make things a bit more steady and comfortable. I also usually find the side grip comfortable with prism finders, but now and then the pistol grip operates more fluidly. Be aware there are multiple versions of genuine Hasselblad grip: one for the crank-wind bodies, and one for the motor-driven EL bodies. These further break down into "early" and "late" versions: at some point in the late 1970s, Hasselblad switched the tripod base from dual socket to single socket, so for your recent 503cw you would need the most recent grip design.

 

The genuine Hasselblad pistol grip is not compatible with later bodies like your 503cw, but third-party knockoffs are available. Compatible 503cw side grips would be models 45071, 45072, 45073, and 45169: all have integrated shutter button and mechanical base coupling to the camera release (not a cable release like the older grip in my photo above). Note the grips are not much smaller or lighter than the Winder CW: it may be worth considering the winder instead, which will add even more convenience (no cranking, mirror comes down immediately after each shot).

 

Your 503cw normally came with a bright Acute Matte screen, either plain cross or cross with split image rangefinder and microprism donut. Bought second hand, you may have gotten a non-AM screen with black cross, which is dim and difficult for portraits. The early 42250 screen with large bright central microprism spot and checker grid lines is inexpensive and nice, the similar 42234 omits the checker grid. Both typically sell for about $50. A plain Acute Matte center cross screen typically runs $150, depending on your eyes it may or may not be easier to focus than the earlier darker microprism center screens. Much more expensive at $250-$450 are the various acute mattes with split image: these give arguably the fastest, most positive focus indication, but the split image can be hard for your eyes to lock on when the camera is handheld and jiggling.

 

Re your Mamiya C220f: you were very smart to choose the final "f" model, as this has the brightest contrastiest screen of all Mamiyas (nearly as good as Hasselblad's Acute Matte), and it has the (undocumented) ability to easily accept any of the optional bright screens that were made for its more elaborate sister the C330S. I have both cameras, and swap the split image screen from my 330S into the C220f when I think I'll need it. The split image screen I bought is the Mamiya B2, there was also a B1, either is fine. Japanese eBay sellers occasionally have them for about $50.

 

As with Hasselblad, 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. The grip shutter button couples to the release button on the 330 cameras, but does nothing on the 220: you simply use the body side release as always (only with the side grip, your right hand is always on the right focus knob or the shutter release: great for portrait sessions). The Mamiya grip has a very secure mount with two pins on either side of the tripod socket: no flex or wiggling. Your Sekor 105mm is a beautiful portrait lens, esp outdoors where its interesting Helios-style background blur can be exploited. The 135mm is also lovely, and the 180mm Super possibly the best MF 180mm ever made (equals the Hasselblad 180mm at a fraction of the price).

 

Edited February 6, 2019 by orsetto

[ben_hutcherson]

Most of the 645 cameras I've seen and worked with, including Bronicas and Pentaxes, feed the film vertically(bottom to top or top to bottom) just like their 6x6 counterparts.

 

I seem to recall seeing a FEW 645 cameras that feed side-to-side(as is "normal" for 6x7), which gives portrait format images, but they're the exception rather than the rule. The Fuji GA645 is the only one that comes IMMEDIATELY to mind.

[orsetto]

I'd got the idea from somewhere that all 645s were portrait format by default.

 

This applies only to the various 645 rangefinders (Fujis, Bronica 645, old folders from the 30s-60s): their film advance is horizontal, necessitating default portrait orientation (most 35mm half-frames and the peculiar 6x7 vertical-advance Linhoff 220 also work this way). The reflex 645 cameras are all landscape orientation by default, which often makes for clumsy handheld vertical-portrait shooting. This one issue made the Mamiya RB/RZ67 extremely popular: its the only MF camera that doesn't need to be turned (instead, you rotate the film back). The RB/RZ are marvelously fluid in portrait sessions, combining the benefits of WLF viewing with either framing choice.

[JDMvW]

Ah, the Pentacon 6TL, although it requires very careful handling, loading, etc. to work (well).

It has had many famous users:

 

 

o_O

[orsetto]

Ah, the Pentacon 6TL, although it requires very careful handling, loading, etc. to work (well).

 

Almost (almost) worth the body headaches to use the Biometar, Flektogon, Olympia Sonnar, etc. There was a nice window around twelve years ago when you could pick up an entire Pentacon kit with all the best lenses for a song, but digital cameras and adapted-lens-mania eventually killed the bargains. At today's typical asking prices, I can resist (tho if I ever lose my mind and splurge on a Fuji mirrorless MF body, all bets are off).

[john_cooper9]

The Linhoff and press type cameras are tricky beasts. Yes, they're optimized for handheld spontaneous shooting, but more along the lines of being gigantic candid-camera Instamatics that happen to use 120 film and cost a fortune (back when they were new). As Ed_Ingold noted, they were meant mostly for news gathering (where you're usually trying to document an overall situation, not necessarily trying to capture a fleeting expression in a single-person portrait sitting).

 

They were indeed used by some wedding pros, but here again (in those days) weddings were a very stylized setting with specific ground rules amenable to that type of camera. I don't think this would work too well today for the goals you expressed. Perhaps leave the Linhoff to collectors: fabulous in theory, but they tend to have hidden issues in the film transport and lens that 90% of repair techs are baffled by. When new, the cost was beyond ludicrous (more than a complete Hasselblad outfit), so they're scarce now. The rarity + cult-ish Rodenstock lens makes it collectible, but the film advance is a real danger point when working quickly (if you forget yourself and treat the Linhoff 220 like a normal camera, it will reward you by permanently bricking itself).

 

While I tend to agree with your comments about the Linhof 220, I still think it is a good camera. I first saw one in London at the Earl's Court camera show in 1966 0r 1967 behind a closed case. Then I emigrated to Montreal in 1968 and a local camera store had one (from the display at Expo 67) for sale for $400CA. A lot of money in 1968. It wasn't till much later I found my first example for $219 from a NY store, then I found one in Ashville NC with issues, and had a guy in NC make one good one out of the two I had. Years later I found a black one of late vintage, then I found another grey in need of help (needed a new handle and better insert, which I found) that is sitting waiting for me to re-assemble it. I last shot several rolls of Provia 220 at a car show 2 years ago. If you can find a good one, then go for it.

[rodeo_joe1]

Ah, the Pentacon 6TL, although it requires very careful handling, loading, etc. to work (well).

Yes. I discovered that slamming the back shut was a definite no-no.

 

Mine still needed dismantling from time to time to rebend and reseat the ratchet spring on the takeup spool. I got it down to only an hour's work after the third attempt!

 

Getting rid of the shutter shading above 1/250th took a lot longer, and more equipment.

 

Don't even mention the Kiev 6, or 'Krushchev's Revenge'.

[rexmarriott]

We've all been dancing around nearly every conceivable medium format camera configuration in an attempt to give you an overview of alternatives to what you have. But the irony is, what you already have is two of the three best systems ever made for portraiture (the third being Mamiya RB/RZ67). It may be a more productive use of money (and learning curve) to start by trying to accessorize what you already have into a configuration more suited to where you want to go. If after that you still feel confined, you'll be more certain about what you need in a third system.

 

Re Hasselblad: honestly I vastly prefer the WLF to any of the prism options, tho I will use the NC2 or PME occasionally for very active people situations, long tele work with the 250mm, etc. With the waist level finder, a side grip can make things a bit more steady and comfortable. I also usually find the side grip comfortable with prism finders, but now and then the pistol grip operates more fluidly. Be aware there are multiple versions of genuine Hasselblad grip: one for the crank-wind bodies, and one for the motor-driven EL bodies. These further break down into "early" and "late" versions: at some point in the late 1970s, Hasselblad switched the tripod base from dual socket to single socket, so for your recent 503cw you would need the most recent grip design.

 

The genuine Hasselblad pistol grip is not compatible with later bodies like your 503cw, but third-party knockoffs are available. Compatible 503cw side grips would be models 45071, 45072, 45073, and 45169: all have integrated shutter button and mechanical base coupling to the camera release (not a cable release like the older grip in my photo above). Note the grips are not much smaller or lighter than the Winder CW: it may be worth considering the winder instead, which will add even more convenience (no cranking, mirror comes down immediately after each shot).

 

Your 503cw normally came with a bright Acute Matte screen, either plain cross or cross with split image rangefinder and microprism donut. Bought second hand, you may have gotten a non-AM screen with black cross, which is dim and difficult for portraits. The early 42250 screen with large bright central microprism spot and checker grid lines is inexpensive and nice, the similar 42234 omits the checker grid. Both typically sell for about $50. A plain Acute Matte center cross screen typically runs $150, depending on your eyes it may or may not be easier to focus than the earlier darker microprism center screens. Much more expensive at $250-$450 are the various acute mattes with split image: these give arguably the fastest, most positive focus indication, but the split image can be hard for your eyes to lock on when the camera is handheld and jiggling.

 

Re your Mamiya C220f: you were very smart to choose the final "f" model, as this has the brightest contrastiest screen of all Mamiyas (nearly as good as Hasselblad's Acute Matte), and it has the (undocumented) ability to easily accept any of the optional bright screens that were made for its more elaborate sister the C330S. I have both cameras, and swap the split image screen from my 330S into the C220f when I think I'll need it. The split image screen I bought is the Mamiya B2, there was also a B1, either is fine. Japanese eBay sellers occasionally have them for about $50.

 

As with Hasselblad, 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. The grip shutter button couples to the release button on the 330 cameras, but does nothing on the 220: you simply use the body side release as always (only with the side grip, your right hand is always on the right focus knob or the shutter release: great for portrait sessions). The Mamiya grip has a very secure mount with two pins on either side of the tripod socket: no flex or wiggling. Your Sekor 105mm is a beautiful portrait lens, esp outdoors where its interesting Helios-style background blur can be exploited. The 135mm is also lovely, and the 180mm Super possibly the best MF 180mm ever made (equals the Hasselblad 180mm at a fraction of the price).

 

[ATTACH=full]1281932[/ATTACH]

No problems with the viewing screen for the 500CW.

 

At present I only have the 105mm lens for the C220F. As you say, it is capable of producing stunning portraits. I love the fact that, with this camera, I can get so close up. I find the screen pretty gloomy, and I'm considering alternatives, so your suggestions are appreciated. I've bought the left-hand grip since starting this thread.

 

I really like the C220F; the way it functions and the interchangeable lenses. Not a scientific test, I know, but I've been looking at photos taken by enthusiastic amateurs with the C220F and the Mamiya 645 Pro TL on Flickr. Whilst the capabilities of the C220F shine through, what I see produced by the 645 Pro TL I find less encouraging.

 

If I can iron out problems with focusing (or is that camera shake?), I'm definitely leaning towards the C220F being the one for the job.

[rexmarriott]

Most of the 645 cameras I've seen and worked with, including Bronicas and Pentaxes, feed the film vertically(bottom to top or top to bottom) just like their 6x6 counterparts.

 

I seem to recall seeing a FEW 645 cameras that feed side-to-side(as is "normal" for 6x7), which gives portrait format images, but they're the exception rather than the rule. The Fuji GA645 is the only one that comes IMMEDIATELY to mind.

Might the Contax 645 be one? I think that may be where I got the idea from.

[orsetto]

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).

Edited February 7, 2019 by orsetto

[Ed_Ingold]

Mamiya 645 cameras feed from side to side. However they are designed to be used at eye level, and can be held equally well vertically or horizontally. Holding a camera to your face lends a considerable degree of stability. Not enough, IMO, to get medium format quality without help of a strobe or high shutter speeds.

[ben_hutcherson]

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).

 

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.