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  • Welcome to the new site. Here's a thread about the update where you can post your feedback, ask questions or spot those nasty bugs!

Mamiya RB67 (and the MF rite of passage)

Hello All,

Regardless of common sense, denial, and all other fruitless attempts at swaying one's intentions, why is it that so many of us (especially the younger photographers, who, once they had the money to purchase some decent photographic kit, did it all-digital) eventually find our way to medium format? Especially, old film-based medium format cameras.

I believe it's for two reasons: The one is to reduce ourselves to the photographic essentials, to reach a point where (usually) all earlier photographers started out with. In a way, to force ourselves to think about the image we want to produce.

The second reason may have to do with the tactile pleasure of working with a large, mechanical, imposing beast of a machine (or, in the case of a Rollei TLR, a rather smaller mechanical beast). To tame it, to make it function as a tool to express artistic intent.

There is precious little that I could not photograph with my Canon EOS 1D MkIIN, especially with the EF 50mm f/1.2L lens that is usually glued to it.

Yet, when the opportunity arose, I purchased a full Mamiya RB67 camera + lens kit - four lenses (50mm C, 127mm, 140mm Macro C, 250mm) and a whole range of accessories (different viewfinders, two film backs, extension tubes, etc). These kits are available for next to nothing these days, cheaper than a single middle-range Canon EF lens.

Mamiya_RB67_by_philosomatographer.jpg

No disrespect to users of the wonderfully capable modern Medium Format cameras - the Sinars and the Rolleis - but these modern cameras often look like plastic toys! (as do so many modern devices). There is something wonderfully old-school and often-cantankerous about a first-generation Mamiya RB67 - it does not quite have the refinement of a Hasselblad from the same period; it has a more robust, industrial quality about it. It is solid, (very) heavy, and precise. The breech-lock lenses are adequately named, because the mount seems to have been designed to withstand the back-pressure of a gun. This stuff seems to be severely over-engineered - but may that's why this 38-year old camera still looks and feels so good. Though the mirror-slap (this is one of the biggest mirrors you'll find in any SLR) is very loud, it is well-damped, but when you decouple them (via cable release as in my photo), the gentle tick of the in-lens leaf shutters more than make up for it.

The Hasselblad is the finely-crafted (and perhaps finicky) Bentley or Rolls-Royce, whereas the Mamiya is the clunky, solid 1960s Mercedes-Benz that just keeps on going and going. That is the impression it creates, in anyway.

I have shot one test roll of Velvia slide film, and another roll of Monochrome. I unfortunately do not have a scanner, and furthermore - when I'm playing with analogue photography, wish do so fully! (the whole darkroom experience, analogue printing etc) so I currently have no means of posting any images here, but once I do so I will.

I can only say that the results - when looking at the huge 6x7 slides under a loupe - look wonderful. I fear that it indeed looks better than what I am used to seeing from my Canon Pro gear. I believe that one day I will be able to put a digital back on this machine, even if it requires a bit of hacking. But that day will come when digital backs' prices drop by a factor of five or so :) Macro and close-up seems to be something this camera does uniquely well for its era.

So - this will not replace a Canon EOS 1D-series. I do still maintain that *no* other camera is made with the same fine craftsmanship, solidity, "tightness" and sheer functionality. (despite certain notorious german cameras giving the impression that they are, in fact!)

However, when a shot calls for some forethought, and when I just want to have a bit of good ol' fun, I can't think of anything I could buy for the same price as this Mamiya that will deliver to the same extent. I am hoping that I could do shots like these (currently limited maximum print size due to containing about 6million [very sharp] pixels) with a bit more resolution, depth, and sheer old-fashioned-ness :) Whether I will be able to capture the same dynamic range with good B&W film remains to be seen - this was a very bright day, and I really pushed the sensor output to the max to flatten the image's tonality a bit (the dark areas are rather noisy).

"Fleeting Memory"

EOS 1D MkIIN @ ISO100, 50mm f/1.2L @ f/10

Just to be clear, the shot above was not made with the Mamiya, but it is the sort of thing I hope to achieve with it - if it could do this better than my Canon, it will have proven itself. Of course, with the Mamiya, one would have to had expected the train to come through, whereas the shot above was completely unplanned and a pleasant surprise. I don't think I'm going to go to breakfast (where the above shot was taken) with a RB67 over my one shoulder, and a tripod over the other!!

I believe different experiences are good - nay, that they are the very essence of a fruitful life - and I figured that since I regularly contribute to the Canon EOS camera and lens forums, I could add some experiences to the MF/LF forum also. I am especially interested if anybody else here also shoots a Mamiya RB or RZ 6x7 camera. Let's see some images!
 
May be because we old photographers have done extensive experimentation with Twin lens reflex, RB, RZ, Graflex, Bronica, built our own 8x10, cut b&w film to fit a Minolta 16mm casette, developed Polaroid b&w negatives and more.

After all that's the idea of being old, no?

It is very coincidental that I am looking with interest to this

http://www.mamiya.com/assets/adapter/RB67_Adapter.jpg

piece of equipment soon to be sold by Mamiya.

RB is a very interesting camera, it was built by the Japanes inspired in the Graflex SLR's 4x5 of Burke White and the problem with earlier models was that you had to wind the camera AND then wind the film holder since this where basically 4x5 cameras with a mirror mechanism.

This is probably a good thing in the time of the Digital Back.

It could be the perfect studio solution. The only remaining thing to do is to see if it would be possible to adapt a tilt shift view camera lens in front.

Or... what about a non-reflex body (same as Hasselblad's ) that would accept the digital back adapter in the back and RB lenses in the front with a mechanical focusing plus tilt/shift mechanism using the space of the reflex box...

... or just put some 120 film on the old RB and go shoot some photos ...
 
Leonardo, I have also with great interest been looking at the Mamiya adaptor to put the ZD on the back of an RB67. But I would long for a full-frame coverage though, the digital sensor is comparatively tiny compared to the large 6cmx7cm film area! (4.8x3.6cm). On the other hand, it may introduce a rangefinder-like shooting experience, the RB's huge focusing area with a smaller frame that indicates the capture area.

Separately cocking the shutter and winding the film does not seem to be a huge problem for the type of shooting the RB seems to have been designed to do. But it is quirky, yes.

But I will certainly be keeping my eye open. In the meantime, I will (and have been) put some film in the RB, and shoot and enjoy. Am steadily scraping together some darkroom equipment (especially with the help of my colleague, who will be having some old-time fun with me with his beautiful Rollei TLR) and will sometime in the future 'upgrade' to the digital age, when it becomes affordable.
 

David Robertson

New member
Its funny that you started this thread today. I've just brought my RB out of retirement and earlier today bought a brace of brand new lenses at very silly prices.

I just love this camera and I've only just realised how much I've missed it these last four years whilst working with a Canon 1Ds. I can't wait to load a roll and start winding levers and listen to that flipping mirror again. And the WLF and reversed image, all magic and a bit primeval really, but a breath of fresh air after the buttons, menus and batteries of the 1Ds.

Don't get me wrong, I've had a lot of fun with digital photography and I shall continue to use the 1Ds, but, for me, photography is a bit more than just the finished image, it's about how I get there. Why it's taken me so long to realise that, I do not know. For the first time in quite a while I am excited about photography again.

Have fun with yours.

Now, where did I put my Weston lightmeter?

David
 

Erie Patsellis

pro member
MIne gets more of a workout than any other camera I own, in fact I finally sold my Hassy, as Ijust never used it, here's some shots from the RB friday:

1.jpg


8-1.jpg


5-1.jpg


and for those architectural shots:
DSCF7015.jpg


erie
 
and for those architectural shots:

Erie, could you tell us a bit more about that interesting-looking mount that allows for camera movements? Where did you get it? And how do you focus? (do you put ground glass in the back?)

It might be the best of both worlds - LF versatility and shooting experience... with a roll of film!
 

Erie Patsellis

pro member
it's a Toyo 4x5 with custom (self hacked up..) lensboard to take RB lenses, as well as what amounts to a revolving back mounted on a panel that replaces the back on the camera. I have some info on making your own RB lensboard for the diy'ers on my website.



erie
 
It is interesting possible solution to use a DB on studio. The 6x7 lenses are prefect since the have a large image circle in relation to the 6x4.5 sensors, they focus using bellows and have leaf shutters with T/F settings -- not the RZ where the T is set on camera--

An now they have the digital camera adapter.

I have only one question and I will post it with the satisfaction of having found the person with the exact same idea -- only my brother Samuel regularly does that-- and is: How do you make the lens work, how do you cock the shutter etc.

I could do the same with my Sinar and just get one or two RB lenses ... and the RB-PhaseOne adapter...

nice !
 
Erie:

Looks like the perfect project to do, specially since you figured out the important parts.

I don't know why Mamiya or other manufacturer don't produce something like this for the digital back. All solutions available are priced in the thousands of dollars...

I will try to get an RB and lens to do the conversion ... thanks !
 

Erie Patsellis

pro member
Leonard, a couple of things to consider:

Sliding Sinar to hassy back adapters are a dime a dozen.

Most of the adpaters for the RB I've seen (only a few) replace the revolving back, hence have 4 studs sticking out to engage the body and a precision machined surface. Instant mounting screws, all you need then is a Hassy SWC focusing ground glass and you're done. (or bandsaw a bad back shell up and epoxy a piece of ground glass to the film rails)



erie
 
Today I finaly could really test the Leaf Aptus on the RZ67ProII.
AMAZING camera.
Focussing is a dissaster but a new screen is on order and should arrive in 2 weeks.

Now I have to shoot from tripod.
Here a 100% crop.
eyecrop.jpg


It seems the RZ has a more real look to the photos than the 645AFD, mostly possible to a little bit better contrast and better black rendition.
But I would have to dig deeper to make 100% sure, for the moment I prefer the RZ above the 645.
 

Steve Hendrix

New member
Today I finaly could really test the Leaf Aptus on the RZ67ProII.
AMAZING camera.
Focussing is a dissaster but a new screen is on order and should arrive in 2 weeks.

Now I have to shoot from tripod.
Here a 100% crop.
eyecrop.jpg


It seems the RZ has a more real look to the photos than the 645AFD, mostly possible to a little bit better contrast and better black rendition.
But I would have to dig deeper to make 100% sure, for the moment I prefer the RZ above the 645.

You know, I don't know what it is about those RZ lenses with digital, but every one of my customers love what they get out of them. For whatever reason, it is just a very nice marriage.

Steve Hendrix/PPR
 

Henry Larson

New member
Henry Larson

I have a Sinar F 4x5 monorail view camera, a 4x5 Speed graphic, a canon 20D, and a Mamiya RB67
My favorite is the RB67 It is old, heavy, and requires thought to operate. I would rather shoot with it than any other camera I have ever owned
 

Daniel Buck

New member
enjoy the RB! an RB was one of my first 'real' film cameras as well! (above point and shoot) I shot with film first, but I only really got into photography when I got a digital SLR some 6 years ago. But here I am shooting just as much film as digital!

I know the reason I went to film, because I love black and white, and was never satisfied with my digital black and whites, they always looked a little to stale and 'plastic' for lack of a better term. Maybe it's subconscious, I'm not really sure, but I enjoy my own B&W work when it's film, better than when it's digital. I know partly because I like the subtle film grain, the rest may be subconscious. I liked the RB, I used it for about 1/2 a year before I got into a 4x5/8x10 system (thanks to my uncle for lending me his setup to learn on!).

Enjoy! and post up results :-D
 

Asher Kelman

OPF Owner/Editor-in-Chief
This is a heavy camera! I have only used the later version, the RZ, and then just with a Leaf digital back. That was fun using the built in bellows. However, I've used the C330 for Film a lot and that is a wonderful experience, there is no blackout when tripping the shutter. It's as if one has more control. From these two cameras and seeing prints made with the Mamiya 6 and 7 Rangefinder MF cameras, the Mamiya lenses are superb.

So what is one gaining or losing by choosing the RZ over the RB? Also what has happened to prices?

Asher
 

Daniel Buck

New member
This is a heavy camera! I have only used the later version, the RZ, and then just with a Leaf digital back. That was fun using the built in bellows. However, I've used the C330 for Film a lot and that is a wonderful experience, there is no blackout when tripping the shutter. It's as if one has more control. From these two cameras and seeing prints made with the Mamiya 6 and 7 Rangefinder MF cameras, the Mamiya lenses are superb.

So what is one gaining or losing by choosing the RZ over the RB? Also what has happened to prices?

Asher


The RZ isn't as completely manual as the RB is, and it's got some electronics in it like the shutter I believe. And (if I remember correctly?) is the RZ a bit lighter than the RB and has access to newer/better lenses? I could be wrong on those last two. The RB is a beast, and when I realized that a 4x5 outfit could actually be the same weight or even lighter than the RB (and use sheet film which I like better, and have more resolution for consumer scanners, and lense movements), I haven't used the RB since. Actually, I've loaned it to a friend of mine out of state. What suprised me the most, was how much lighter large format lenses were compaired to the RB lenses! Well, some large format lenses are super heavy, but not most of the ones that I have.
 
The Mamiya RB lenses are massively heavy yes. However, when everybody compares the Mamiya to, say, Hasselblad, they forget that the Mamiya is not a 6cmx6cm camera like the 'blad, but an 8cmx8cm camera. These lenses have a much bigger image circle. I also suspect the legendary Mamiya lens quality is achieved - like, say, the wonderful Nikon 14-24 zoom - through sheer size of the glass elements. The bigger glass area makes it easier to achieve perfect performance without the exceptional manufacturing tolerance of, say, Leica M lenses and their small size.

My RB and 5 lenses is my primary camera at this stage, and I must say the best lens of the lot is the Sekor-C 140mm f/4.5 Macro. It appears to resolve as good as my Olympus OM lenses, but on a 5x bigger film area. Not sure why they bothered to call it a Macro, as its infinity performance is astounding (I've used it more for landscape).

I have not used the newer K/L lenses, I only have the C range, so I an just imagine how good the K/L's must be.

I'd really like a Mamiya 7, but the RB has much much better build quality (and consequently weighs around 3x as much) and it's so nice to compose on the big ground glass.
 

Erie Patsellis

pro member
Yes, I've heard that about the 140, the real shame as it's one of only two of the lenses I don't have, the other being the 37mm fisheye. I've been lusting after a 37 for a few years now, it will come in time, I'm sure. I'll have to squirrel away a few $$ the wife can't find to get a 140 as well.

I have a single shot digital back for the 500EL coming, if all goes well, over spring break next month I'm going to machine a back adapter to use the Hassy back on an RB, as I have a wide selection of lenses for the RB, as opposed to two for the ole Hassy. That, in combination with the Phase One scanback for the 4x5 should fill in any gaps I have, digitally at least, for product work.


erie
 

Asher Kelman

OPF Owner/Editor-in-Chief
Machinist....?

........... I'm going to machine a back adapter to use the Hassy back on an RB, as I have a wide selection of lenses for the RB, as opposed to two for the ole Hassy. That, in combination with the Phase One scanback for the 4x5 should fill in any gaps I have, digitally at least, for product work.
Erie,

That's a great capability: a hobby or your work?

Asher
 

Erie Patsellis

pro member
like most my age (45) I was raised by a depression era family, and we didn't have much money, I learned quickly that if I wanted something, I damn well better know how to make it, or learn. The older I get, the more I appreciate it, especially when it comes to hobbies that otherwise would be far out of my reach financially.


erie
 
The Joy of 160 megapixels

Hi All,

Since I started this thread, I though i'd give a bit of an update. Both my analogue (darkroom printing) and digital (scanning on an Epson V700) workflows with the RB67 is in full swing, and I can only say: What an amazing camera. Nothing on tis side of a large format camera has this sort of quality and flexibility. 6x7cm film is also giving me everythign I could ask for in terms of image quality, and IO cannot for the moment see how even a medium format digital back compares for black and white imagery (which I prefer).

Resolution for optical prints are nothing short of amazing, and I could for now be called a full "analogue convert" - scanning only to show images online. I prefer to scan prints, but for images I have not yet printed, a lowly Epson V700 does an amicable job in scanning my 6x7cm negatives to 160 pretty "good" megapixels. If you want to be pedantic, I would have to say that I can get 80 "perfect" (pixel-sharp) black and white megapixels from such a scan. This still massively exceeds what is possible even with a 60MP bayer-interpolated digital back, which has anywhere from 20 to 40 interpolated monochrome megpixels, and lest one not forget, scanned in with effectively zero electronic noise (multi-pass scanning). However, as I said, I actually prefer to create pints, and have largely forgone pixel-peeping.

Still, here is an example (a test image I made last year, using the 140mm Sekor-C Macro lens):

Mossel_Bay_by_philosomatographer.jpg


And here, a crop: Now, this scanner does not come close to extracting all the detail from this negative, because I cannot get sharp grain (like in my otical prints made through Apo Rodenstock enlarging lenses) but still, it gives me far, far greter resolution than what an EOS 5D ever gave me, making me laugh even more at all those comparisons claiming that a 5D comes approaches "medium format" quality:

Mossel_Bay_Crop_by_philosomatographer.jpg


Sure, it's called grain, but look at the detail! This is about half of what I see in my optical prints, but I am totally thrilled with the output of this camera and its (in my experience) unbeatable lenses.

Versatility? I could make this 1:1 Macro shot using the standard 50mm wide-angle lens on the camera, no tripod, no extension tubes or any other kind of fiddling. Now, this is not a flat-field lens (apparent in the corners) but this 160 Megapixels image goes far beyond what I could ever achieve with, say, the Canon 100mm f/2.8 Macro on a 5D, in terms of resolution:

Dune_Bug_by_philosomatographer.jpg


(Note: The Mamiya 140mm Macro is, on the other hand, flat-field corrected for 1:1 images, so it's in a different class of performance). No Rollei/Hasselblad/Sinar camera with helical focusing will allow you to take a shot like this without having to bring along special macro lenses, extension tubes, etc.

If you are into black and white, I cannot urge you strongly enough to take a look at the cheap Mamiya RB equipment around, you will never turn back (and, in fact, the only problems is that typical one - wanting to look at even larger formats).

However, this cameras has a versatility that is lacking in any large-format camera, and quality which is lacking in any 35mm-format cameras, film or digital. Don't believe the "lies" you read; that the latest Digital SLRs some even close to this.

I will post further aspects of my experiences with this camera in the near future. I am sure a lot of peopel went through this in 1970 already, but I am only discovering all of this now, so I may as well share some of it for the benefits of others :)
 

Ken Tanaka

pro member
Hi David,
Thanks for posting an update. I had seen your initial note last year and wondered if you were still using the camera. It's fun to see someone enjoying such a terrific camera so fully.

I've taken a loosely similar path in some regards. I had an urge to try a larger (than 35mm) format but didn't want to make a large-format plunge, as I'm entirely dependent on a local lab (one of the few left in Chicago) for all film processing. That is, I wanted options. So in late 2007 I bought a new Mamiya RZ67 Pro IID (the successor to your RB67) and a Mamiya ZD back. I then scrounged eBay (and Adorama's used gear dept.) to find some quite good gotta-get-rid-of-it deals on lenses, a finder, 120, 220, and Polaroid backs, a grip, etc. So at this point I can shoot digital, film, and instant film (i.e. Fuli, Polaroid) with the camera.

I've had a blast with the camera but haven't really dived fully forward with it yet. That is I've used it on several projects but not yet quite to the extent I originally had planned. This fall I believe I will have a chance to exercise it more fully.

I must say, however, that even though my RZ is brand new it's definitely somewhat of a quirky contraption that's not at all appropriate for impromptu work. Yikes. But it has its own charm.

It sure looks like you're having fun. Please do update when you get the chance.
 
Some Colour Work

I always heard people talk about how special a 6x7cm colour slide is on a light table, but found that I had to experience it myself to see what it's all about. It's somehow the only media which perfectly, exactly replicates the light and colours present in a scene, and any other form (digital scan, analogue or digital print) is just... "not the same".

Kappertjie_by_philosomatographer.jpg

Sekor-C 140mm Macro, wide open

Trio_Canopy_by_philosomatographer.jpg

Sekor-Ancient (single-coated) 250mm, wide open

Autumn_on_the_shoreline_by_philosomatographer.jpg

Sekor-Ancient (single-coated) 127mm, at f/5.6
I can't wait to have some realy huge prints made of some of my images, with an easy (once you've fiddled enough with the cheap Epson film holders to get focus right) 60 un-interpolated 16-bit megapixels.

What I enjoy most of these files, is the "richness" - there is absolutely no electronic noise in the shadow areas, something every DSLR I ever used had in varying amounts. Even at ISO 100, an EOS 5D looks terrible when you push the shadows, whereas with scanned slide film you cna push them to heavenly highs and they remain buttery-smooth. This suits my style, as I almost always push up the shadows of my images, and especially with slide film, you have to, as you typically under-expose a bit to protect the exceptionally poor highlight range. This is like shooting with a P&S all over again in that regard, 5 stops of dynamic range.

Of course, when you shoot B&W and get 14 stops, the compensates nicely for the slide film's poor range :)
 

Erie Patsellis

pro member
So David, almost a year on, how are you coming along with the RB?

I've been busy making a new adapter for the Sinar, and with the demise of my website, have been slowly working on documenting the howto.

One thing I have built recently is an adapter to use my Dicomed FieldPro scanning back (earlier version of the Betterlight) with the RB, giving me a 6kx6k image or thereabouts.
 

Asher Kelman

OPF Owner/Editor-in-Chief
Erie,

I'm so glad to see this thread revived! The RB-RZ systems make a noble line of cameras and now, believe it or not, there's a digital back to bring it to the digital age with few, if any, compromises.

I always heard people talk about how special a 6x7cm colour slide is on a light table, but found that I had to experience it myself to see what it's all about. It's somehow the only media which perfectly, exactly replicates the light and colours present in a scene, and any other form (digital scan, analogue or digital print) is just... "not the same".


Autumn_on_the_shoreline_by_philosomatographer.jpg


Sekor-Ancient (single-coated) 127mm, at f/5.6

Mamiya's lenses deserve their fine reputation. This film picture, with real color film, simply delights me. It's sumptuous like a box of chocolates, a sienna Tuscany sunset and a tanned girl who loves you that come back after a long absence. Everything is buttery smooth and we just need some chilled champagne and wait till the sun goes down and we hear the bats squeek as they sweep past us on, swoop down to get a drink of water, (cheers!) and then go off on their night errands.

This picture is that rich for me!

Asher
 
I'm so glad to see this thread revived! The RB-RZ systems make a noble line of cameras and now, believe it or not, there's a digital back to bring it to the digital age with few, if any, compromises.

I must admit, not having a 6x7cm digital sensor on this massive camera would bug me, especialy as one would then be severely limited in terms of wide-agle options, the 50mm is already not ultra-wide on this camera, merely "very wide".

Mamiya's lenses deserve their fine reputation. This film picture, with real color film, simply delights me. It's sumptuous like a box of chocolates, a sienna Tuscany sunset and a tanned girl who loves you that come back after a long absence. Everything is buttery smooth and we just need some chilled champagne and wait till the sun goes down and we hear the bats squeek as they sweep past us on, swoop down to get a drink of water, (cheers!) and then go off on their night errands.

This picture is that rich for me!

Asher

Thank you so much, Asher. I have for a long time not added to this thread, as most of my recent RB work has been posted in the "Challenge: Shoot B&W With Asher" thread.

My work has very definitely polarised, in that I carry an Olympus OM-1 body with me all the time for spontaneous photography, and the RB for more serious work (although I do admit, I use it hand-held and spontaneously most of the time, rarely on a tripod).

I thoroughly enjoy the richness of the analogue prints I get from my RB negatives. This polarisation, however, is threatening to "widen the gap" even further, i.e. I may just stick with 35mm and then move up to large format for the "serious" stuff. I will see...

Anyway, here are some of the images of the other thread reproduced for conciseness, all are scanned prints, usually 12x16in (some are 8x10in). I certainly am still learning in terms of darkroom technique, but it has been a thoroughly satisfying journey so far.

Stormy_Mossel_Bay_by_philosomatographer.jpg


Laughing_Gas_II_by_philosomatographer.jpg


Unrestored___Toys_for_boys_by_philosomatographer.jpg


Family_on_the_beach_by_philosomatographer.jpg

 

Mike Shimwell

New member
Dawid

You may have gathered that I finally went medium format - with a Mamiya 7ii and 80 and 150 lenses. I'm more than plesed with the results so far and am looking forward to using it more oc ver the coming weeks.

MIke
 
Dawid

You may have gathered that I finally went medium format - with a Mamiya 7ii and 80 and 150 lenses. I'm more than plesed with the results so far and am looking forward to using it more oc ver the coming weeks.

MIke

Wow, you didn't just "go" medium format, you went with the créme de la créme of medium format! No medium format camera has interchangeable lenses of better technical quality (and smaller in physical size) than the Mamiya 7, period.

I have, for a long time, debated with myself whether it's worth it to get a 7. The small size and image quality is so alluring, the thing that has repeatedly kept me from doing so (and likely will) is the long minimum focus distance on the lenses. If they only went down to 0.7m like Leica, I'd be happier, but for my style of work, I simply could not live with 1m, 1.8m, minimums. Of course, your style may be different, and then few cameras could make happier than a Mamiya 7, I hope you have great fun with it and show us the results.

I hope you are printing in the darkroom, very few scanners could do negatives produced by a 7 justice. This is because on-screen viewing cannot - for a number of years to come - do quality work justice in my opinion, and the 7 is all about quality. It's made for an all-analogue workflow in my opinion.
 
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