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Patrickd's Guide To Everything Medium Format

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Ask your questions here, look for answers before you ask dumb questions as well. I'm gonna try to cover as many things as possible. This info is from a lot of sites that have valid research, wikipedia, the company websites, etc.

[size=4]MF film in its whole[/size]

^^ 120 in comparison to 35mm

The main draw to medium format is that, because of its increased film size (two to four times bigger than 35 mm), it offers much higher image resolution. This allows for relatively big enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. While large-format film used in view cameras offer greater film size and higher resolution still, they generally lack the versatility and convenience of a medium-format camera due of their bulky size and relatively awkward processes.

Medium-format film can also be shot in a variety of aspect ratios, which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square) and 6×4.5 cm (rectangular). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic. The 6×4.5 cm format is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium format models is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure. Another pro is that, like large-format cameras, many medium-format cameras have various interchangeable parts. Like most 35-mm SLRs, medium-format cameras usually support different lenses as well, but in addition it is also standard for medium-format cameras to support different winding mechanisms, viewfinders, and camera backs.

Compared to 35 mm, the main drawbacks are accessibility and price. While 35-mm cameras, film, and photo finishing services are generally widely available and cheap, medium format is usually limited to professional photography shops and can be prohibitively expensive for some. Medium-format film also supports fewer exposures per roll, usually around 12 to 16, and are generally more difficult to load and handle than their 35-mm counterparts.

All medium-format cameras manufactured today use the 120 film format. Many also can use the 220 film format, which is twice as long and hence allows twice the number of exposures. 120 and 220 film is still almost as available as 35mm from specialist shops.

[b]6x7[/b]Photographers on portrait assignment for magazines often use the 6x7 format. The weight isn't a problem since they have assistants, rolling carts, and advance planning.

If you don't have a flotilla of assistants, your only real options are the Fuji rangefinders (very cheap but no meter) and Mamiya 7 rangefinder (sort of cheap if you buy it in Asia; meter in the body and interchangeable lenses including a delicious super-wide lens). If you want to pretend to be a magazine portrait photographer, invest in the unbelievably heavy and clunky Mamiya RB or RZ67 system (see the archived threads in the Medium Format Digest). If you want to pretend to be a starving artistic nature photographer, throw a Pentax 6x7 II system into your beat-up full-size van. This is a huge 4-pound SLR body that includes a prism the result is what looks like an old Nikon on steroids. Lenses are sensibly priced.

[b]6x8 [/b]
Fuji makes a very interesting GX 680 III camera. It is similar in size and weight to the huge Mamiya RB/RZ system but you get modern electronics and the same perspective controls that you'd find on the front standard of a view camera.

[b]6x9 [/b]
Fuji makes a rangefinders that are remarkably cheap, light, compact, and high quality (as of 1999, you can choose between 65mm and 90mm lenses). Regrettably they don't include a meter.

6x12 is a panoramic format that is interesting because it is the largest hunk of roll film that will fit into a standard 4x5 enlarger. If your ambitions stretch to larger formats, you'll be limited to contact prints, digital imaging, or professional photo labs.

If you already own a 4x5 view camera, a cheap way to get into 6x12 is with a roll-film back. You're saved the hassle of loading film holders but the other operational annyances of the view camera will still slow you down. On the plus side, even with the very cheapest view camera and 6x12 back you get perspective control, something that will cost you northwards of $8000 in a Linhof 612 PC outfit (includes one lens, a Schneider 58mm XL that costs $1,213 in a view camera shutter).

With a rotating lens on a 612 camera body, you can get some very interesting photos. The Noblex is the most common example of the breed, producing a 146-degree photo free of distortion and light falloff.

If it pains you to take more than four pictures on a roll of film, a 6x17 camera is for you. Check my Fuji G617 review for some sample images. The right camera to buy in this size is a used Fuji G617 (the old one without interchangeable lenses). I got mine for $2200 in flawless condition. The things that it really could use are perspective control and the ability to focus closer. What the market has delivered instead are 617 cameras with interchangeable lenses and breathtaking price tags. For the same price, you could get a G617 and a 4x5 or 5x7 view camera system for the times when you needed a different focal length, a closer focus ability, or perspective control.

(thank you: [url="http://philip.greenspun.com/images/medium-format/choosing#choice)"]http://philip.greenspun.com/images/medium-...hoosing#choice)[/url]

Here's some film advice. Reference the Film Thread in Gear Reviews/Techniques if you're interested in. I'm just going to name some off, the sizes of film, etc.

[b]Examples of each aspect ratio:[/b]

[url="http://www.flickr.com/photos/joelpeck/247820767/"]6x4.5[/url] (taken from joelp. hope he doesn't mind.)
[url="http://www.flickr.com/photos/jordanconwayphoto/399319736/"]6x6[/url] (taken from jordan. hope he doesn't mind.)

[b]TAKEN FROM THE FILM THREAD(graphopasmic)[/b]
Color Print Films:[/u]

Fuji Reala - Cool and sharp. It's a very fine grain 100 speed film, very all purpose, and it has some of the best colors you'll get with any print film.

Kodak Portra - This series of films comes in a few different emulsions, all availible in 160 or 400 speed (and I believe 800 speed in some cases as well). First is the Natural Color, great for when you don't want very high saturation, and an accurate portrayal of the colors in the picture. The Vivid Color films have a little richer, more saturated colors, this one is very warm. And the Ultra Color films have very high color saturation, great for nature photography.

Fuji Superia 200 - If you can't afford professional films then I'd suggest just picking up 5 packs of this stuff, probably for under $15. It's 200 speed, so it's good for most outdoor situations, and it's got great color saturation. I've known photographers to prefer this over Kodak Ultra Color films, and for such a cheap price it's a great deal. Just stay away from the higher speed Superia films (400, 800, 1600) because most of these just come out too grainy and junky looking.

[u]Color Transparency Films:[/u]

Astia - Very natural colors, probably the slide film suited best for portraits because there is not very high saturation. Nice for controlled lighting situations, such as a studio.

Provia - My personal favorite, Provia is very all around and useful in many situations. It has nice saturation for landscapes, but is still acceptable for a decent portrait. If you are going to be shooting a variety of subjects (whether it is a portrait or not) Provia has probably got you covered. EXTREMELY fine grain, but looks incredible when pushed a stop or two.

Velvia - Velvia is a favorite among landscape photographers and other nature photographers because of it's high saturation and vibrant colors. I would advise against portraits with Velvia because it blows out skin tones (turns them red and icky).

Kodachrome - The only thing stopping me from shooting more Kodachrome is the fact that there are only a few places in the entire world that will develop this special K-14 process film, and Kodak sends all of their's to Switzerland. Kodachrome offers natural and true to life colors, and is very accurate in detail. If you can still get it, try some Kodachrome 25 for landscapes. The ISO 64 and ISO 200 Kodachrome emulsions are also both excellent for just about any situation, providing a good range of cool and warm tones.

[u]Black and White:[/u]

Tri-X - This is the staple of black and white photography. Tri-X is a consistently grainy black and white film, giving it a "classic look." Very wide latitude, so exposures that are a tad under/over will still be acceptable. If there ever was a beginner film, this was it.

T-Max - This film tends to be a little sharper and less grainy than Tri-X, so if you're not into the whole "old-school" look, you might try this film out. It comes in 100 and 400 speed emulsions.

Fuji Neopan - The 100 speed Acros film is an incredibly sharp, fine-grain film, great for getting in every little detail. The 400 speed emulsion is much like Tri-X, because of the noticible, yet consitent grain. There is also a 1600 speed emulsion, but that's getting pretty far up there, and this film is just so grainy that you lose a whole lot of detail in the image.

Ilford Pan F - This is awesome shit, the absolute sharpest, finest grain black and white film (with the exception of Panatomic-X). ISO 50. Great for use in the studio and other controlled light situations. Also, this is a good film for black and white landscapes because of the crisp detail and fine grain. As with most films, best results are with a tripod, and you'll be better off with one cause an ISO 50 film is gonna need a fairly long exposure if not in bright light.

Ilford Delta 3200 - Great contrast, grain is still somewhat acceptable for 3200 speed film. Pulling to 1600 gives some cool effects, however the grain is much worse than Neopan 1600.
Films I Dislike (And I think others will agree)[/u]

Agfa Ultra 100 - I shoot a lot of this but the only reason is because I bought a ton after getting back one roll of good looking pictures. Now I have probably a dozen rolls lying around. Just make sure not to waste your money on this film. It may be 100 speed, but the grain is the same, if not worse, than most 400 to 800 speed print films. It's got incredible saturation, the colors are very rich and deep, which can be a plus for some situations, but skin tones tend to be blown out. And there is hardly any detail at all in this one, just all grain.

Fuji Superia X-tra 400 - Ugh don't get me started on this one either. I guess I'll never be completely happy with 35mm 400 speed color negatives (I guess kodak gold is ok. . .) but the colors and grain on this film are jsut not cuttin it. Keep away, stick with the Kodak 400 speeds, you'll be better off.

[b]Okay,[/b] so enough of the film talk, you can just look at the film thread for some advice if you need it. I'm gonna tell you what i know and have researched about film backs. On some cameras, there is a feature called Interchangeable backs. It's very handy for switching film types in the middle of a shoot, shooting a different film size maybe, or even shoot digital nowadays. They are very convenient, and you should consider picking up a camera that supports this feature.

[size=2]Types of MF Cameras[/size]

[b]TLR[/b]- A twin-lens reflex camera (TLR) is a type of camera with two objective lenses of the same focal length. One of the lenses is the photographic objective (the lens that takes the picture), while the other is used for the waist-level viewfinder system. In addition to the objective, the viewfinder consists of a 45-degree mirror (the reason for the word reflex in the name), a matte focusing screen at the top of the camera, and a pop-up hood surrounding it. The two objectives are connected, so that the focus shown on the focusing screen will be exactly the same as on the film. However, many inexpensive TLRs are fixed-focus models.

[b]SLR[/b]- The single-lens reflex (SLR) is a type of camera that uses a movable mirror placed between the lens and the film to project the image seen through the lens to a matte focusing screen. Most SLRs use a roof pentaprism or pentamirror to observe the image via an eyepiece, but there are also other finder arrangements, such as the waist-level finder or porro prisms.

[b]The Difference[/b]- TLRs are different from single-lens reflex cameras (SLR) in several respects. First, unlike virtually all SLRs, TLRs provide a continuous image on the finder screen. The view does not black out during exposure. Additionally, models with leaf shutters rather than focal-plane shutters can synchronize with flash at higher speeds than can SLRs. However, because the photographer views through one lens but takes the photograph through another, parallax error makes the photograph different from the view on the screen. This difference is negligible when the subject is far away, but is critical for nearby subjects. For accuracy in tabletop photography, in which the subject might be within a foot (30 cm) of the camera, devices are available that move the camera upwards so that the taking lens goes to the exact position that the viewing lens occupied.



Easily one of the best medium format cameras to date. Hasselblad is a Swedish manufacturer of high-quality still photography cameras based in Gothenburg, Sweden. The company was established in 1841 as a trading company. In the 1890s, Hasselblad began distributing photographic products from Eastman. The photography branch grew, and during the second world war Victor Hasselblad was commissioned to develop an aerial camera for the Royal Swedish Air Force. After the war, camera production changed into civilian cameras. Introduced in 1948, the Hasselblad 1600F was a medium format SLR that became the camera of choice for many professional photographers. Hasselblad became immensely popular when the Apollo program missions took place, using a hasselblad to take all pictures of the moon while on it. (save the hollywood/gov't conspiracy for other talk ;))

[b]The Cameras[/b]
[size=3]H Series. [/size]

The most fucking expensive digital cameras known to the market. Used a lot for commercial work and whatnot. If you've ever seen America's Next Top Model, the person uses them for the photo shoots. [url="http://www.hasselblad.com/products/h-system/h3d.aspx"]Here[/url] is info on it.


The Hasselblad V series evolved out of Victor Hasselblad's desire to develop a flexible camera system. This system includes interchangeable bodies, lenses, viewfinders, winders, film magazines and holders, and other accessories. Problems with the focal plane shutters in the 1600F and 1000F cameras led to the development of the manual leaf shutter based medium format 6x6 (6x6 cm or 2¼x2¼ in.) 500C SLR camera in 1957. The 500C was later joined by the motor driven 500EL SLR camera. These two cameras, together with the Superwide Camera (SWC) which was introduced in 1954 as a wide angle camera using the excellent Carl Zeiss Biogon 38mm f/4.5 lens and built-in levels for exacting architecture photography, formed the core of the V-system and shared most accessories (with a few exceptions). All accessories are extremely robust, and well-designed.

Throughout the life of the V Series, Hasselblad has been incrementally updating the cameras. The 500C gave way to the 500C/M, the 501C, and finally the 501C/M as the basic manual. The SWC was replaced by the SWC/M, the 903 SWC, and finally by the 905 SWC. The 500EL's replacements included the 500EL/M, 500ELX, 553ELX, and the 555ELD. Added later to the line were cameras that included TTL/OTF (through the lens/off the film) flash metering the 503CX, which was replaced by the 503CXi and the 503CW. Also added was the 2000/200 series of focal plane shutter cameras starting with the 2000FC, 2000FCM, 2000FCW, 2003FCW and then followed by the 201F, 202FA, 203FE, and 205FCC, which added a level of automation to the V series. There were also two series of medium format view cameras developed related to the V series: the FlexBody and the ArcBody. Twelve modified Hasselblad 500EL bodies and attached lenses remain on the moon.

[url="http://www.photoethnography.com/ClassicCameras/index-frameset.html?Hasselblad500.html~mainFrame"]Here[/url] is a damn good website for information on the 500 series. Very popular cameras, very durable, very successful very good. A lot of people have 500cm's on this site, or just ask Laclair how he likes his, and such.


Mamiya-OP Co., Ltd. is a Japanese company that today manufactures golf equipment and specialty electronics. With headquarters in the city of Saitama, Saitama Prefecture, it has a capitalization of about 3 000 000 000 yen, sales of 12 500 000 000 and a workforce of over 200 people.

Mamiya is best known for its professional film cameras, especially medium-format film cameras such as the Mamiya RB 67, RZ 67, and C-220/C-330, used by advanced amateur and professional photographers. Mamiya also produced the digital Mamiya ZD.

On September 1, 2006, Mamiya Corporation sold its optical instruments business to Cosmo Scientific Systems . A new company, called Mamiya Digital Imaging, was formed on that date. It has been reported that the Mamiya brand name for medium-format film and digital cameras, will be continued. Service for those cameras will also continue in the existing Mamiya network.

[b]Medium format Background[/b]

In 1970, Mamiya introduced the RB 67 6x7 cm professional single lens reflex (SLR). The RB 67, a large, heavy, medium-format camera with built-in closeup bellows was innovative and successful. Previous medium-format professional cameras used the square 6x6cm format which did not require the camera to be rotated for photographs in portrait orientation, problematical with large and heavy cameras when tripod-mounted. The RB 67 had a rotating back which enabled photographs to be taken in either landscape or portrait orientation without rotating the camera, at the expense of additional weight and bulk. The RB 67 soon became widely used by professional studio photographers.

[b]The Cameras[/b]
[b]Mamiya RB Series[/b]
The RB stands for rotating back. This system allows you to shoot from horizontal to vertical by just rotating the back of the camera instead of the whole camera itself. These cameras are completely manual and require no batteries as opposed to the RZ series which does have some electronic parts.

The RB 67 was followed by the improved RZ 67. These cameras established Mamiya as medium-format professional camera manufacturers, together with Hasselblad, Rollei, and Bronica.

The Mamiya ZD and the Mamiya ZD Digital Back were announced in September 2004 and first shipped to Europe in March 2006. The ZD is a large, professional digital SLR camera with a 22 megapixel digital sensor manufactured by Dalsa. The ZD Digital Back fits the 645AFD and provides it with digital functionality.

[b]6x4.5 Format[/b]

The Mamiya 645 manual focus series

* The M645 (discontinued) was manufactured from 1975 to 1987. Non-interchangeable back.
* The M645 1000S (discontinued) was manufactured from 1976 to 1990. Non-interchangeable back.
* The M645J (discontinued) was manufactured from 1979 to 1982. Basic entry-level camera, non-interchangeable back.
* The Mamiya 645 Super (discontinued) was manufactured from 1985 to 1993.
* The Mamiya 645 Pro (discontinued) was manufactured from 1993 to 1998.

* The Mamiya 645 Pro-TL (current model) was first released in 1997.
* The Mamiya 645E (current model) was first released in 2000. Entry-level camera, non-interchangeable back, popular among beginners.

The Mamiya 645 auto focus series

* The Mamiya 645AF was first released in 1999.
* The Mamiya 645AFD was first released in 2001.
* The Mamiya 645AFD II was first released in 2005.

Mamiya does not yet manufacture digital backs for its cameras, but they are available through other manufacturers [4]. The 22 megapixel ZD Back for the 645AFD II and, with an adapter, the RZ ProIID, was announced at the 2006 Photokina.

As of spring 2007 the Mamiya ZD was available in Europe but not in the USA.

[b]6x7cm format[/b]

* RB67/Pro-S/Pro-SD - mechanical 6cm x 7cm SLR medium-format camera
* RZ67/II/IID - electronic 6cm x 7cm SLR medium-format camera
* 6/6MF - electronic 6cm x 6cm, 6cm x 4,5cm and 35mm rangefinder camera (discontinued)
* 7/7 II - electronic 6cm x 7cm rangefinder camera



Bronica cameras first appeared in 1958, when its founder, Zenzaburo Yoshino, introduced a camera of his own design, the Bronica Z rollfilm camera, at the Philadelphia Camera Show. The Bronica Z and successor Bronicas, utilizing large-coverage, high-quality Nikon Kogaku Kikai (Nikkor) lenses, became an instant success.

Bronica later introduced lenses of its own manufacture with its later camera designs. Zenza Bronica Ltd. was eventually acquired by the large lens manufacturing concern Tamron. Zenzaburo Yoshino died in 1988.

[b]The Cameras[/b]
[size=3]ETR series[/size]

* ETR - Introduced January 1976. 4.5x6 cm camera system
* ETR-C - Introduced October 1977. Identical to ETR models except film magazine cannot be removed from film back.
* ETR-S - Introduced January 1979. Improved version of ETR.
* ETR-S Modification - Introduced July 1982. Unnamed change to original ETR-S model. Lens release located on left side of body, backs released using two independent tabs.
* ETR-Si - Introduced October 1989. Improved version of ETR-S.

[size=3]SQ Series[/size]

* SQ - Introduced October 1980. 6x6cm square format camera system.
* SQ-A - Introduced January 1982. The SQ-A was a refinement of the SQ. The contact pin array for the viewfinder was increased from six to ten gold contacts, allowing for auto metering capability with the AE finder S. Also, a mirror lock-up lever was added. The backs were modified slightly, with the ISO dial for the original backs having white and orange numerals, and the new with silver. The darkslide was changed to the locking style; to lock required both the new grey handle slide, and the new silver numeral ISO dial back. All accessories for SQ cameras fit the SQ-A, however the AE finder cannot physically mount on the SQ; a safety defeat pin prevents attachment.
* SQ-Am - Introduced January 1983. "Motorized only" version of SQ-A body. Uses 6 additional AA batteries.
* SQ-Ai - Introduced October 1990. Improved model of SQ-A
* SQ-B - Introduced February 1996. Student model based upon SQ-A. Lacks some features of SQ-Ai.

[size=3]GS Series[/size]

* GS-1 - Introduced 1982. Lightweight, electronically-controlled, modular SLR 6x7cm camera system, with four interchangeable viewfinders, speed grip, and optional backs for 35 mm, Polaroid, 6x4.5cm, 6x6cm, and 6x7cm rollfilm. 120 and 220 size film backs available in 6x4.5, 6x6 and 6x7cm. Dedicated Flash (G1). The GS-1 uses 'PG' -series lenses in a variety of focal lengths: 50 mm, 65 mm, 100 mm, 110 mm macro, 200 mm, 250 mm, and 500 mm.

-Glass is made buy Seiko, so it is very good, most people say the Hasselblad (Carl Zeiss) glass is better, which it probably is but both are just so fucking good it doesn't matter.
-Buy them on [url="http://www.keh.com"]KEH[/url] or [url="http://www.ebay.com"]Ebay[/url]
-6x6, or can get special backs for any smaller formats; 6x4.5, polaroid, or 35mm
-takes Seiko S or PS lenses, popular focal lenghts include 35mm f3.5 PS fisheye, 80mm f2.8 PS, and 150mm f4 PS.
-[url="http://www.tamron.com/bronica/sq_guide.asp"] Bronica Learning Center :: SQ Guide[/url]
-6x4.5, or can get special backs for polaroid or 35mm.
-take the Seiko E, PE and MC lenses, popular focal lenghts incliude 30mm f3.5 PE? fisheye, 75mm f2.8 PE, and 150mm f3.5 PE.
-[url="http://www.tamron.com/bronica/etr_guide.asp"] Bronica Learning Center :: ETR Guide[/url]
-takes PG lenses
-[url="http://www.tamron.com/bronica/gs-1_guide.asp"] Bronica Learning Center :: GS-1 Guide[/url]



The company began in December, 1949 in Nagano, Japan, when the Yashima Seiki Company was founded with an initial investment of $566. Its eight employees originally manufactured components for electric clocks. Later, they began making camera components, and by June 1953 had introduced their first complete camera, the Yashimaflex, a twin-lens reflex (TLR) medium-format camera designed for 6x6cm rollfilm. The Yashimaflex and successive cameras used lenses sourced from the Tomioka Optical Works, beginning a relationship that would last for years. Also in 1953, the company’s name was changed to Yashima Optical Industry Company, Ltd.

In December 1965, Yashica introduced the world’s first electronically controlled 35mm camera, the Electro 35, a popular rangefinder model that eventually sold 5 million units. The company continued to expand its international markets, and in August 1968, Yashica finally acquired its lens manufacturer, the Tomioka Optical and Machine Manufacturing Co., Ltd. (later re-named the Tomioka Optical Co. Ltd.). By this time, Tomioka was one of the largest and most reputable lens manufacturers in Japan. Sales of 35mm SLRs continued to grow steadily, and Yashica was quickly acquiring a reputation for both electronic camera expertise and high-quality optics. 1968 also marked the year of Yashica's last major TLR camera design, the Yashica Mat-124, a popular model which combined some of the best features of Yashica's earlier TLR cameras.

[b]The Cameras[/b]

Twin Lens Reflex (TLR)

* Yashimaflex
* Yashicaflex
* Yashica Mat
* Yashica 124
* Yashica 124G
* Yashica 635
*Yashica D

The Rolleiflex TLR film cameras were notable for their compact size, reduced weight, superior optics and bright viewfinders. An ingenious tapered mirror allowed the size of the viewing lens (the top lens) 'internal compartment' to be reduced, and this smaller compartment was dovetailed with the bottom taking lens 'compartment', which decreased the overall size and weight of the camera. The lenses (Zeiss and Schneider), particularly the later coated versions, had superior sharpness and bokeh to comparable cameras from other manufacturers. The mechanical wind mechanism was robust and clever, making film loading semi-automatic and quick. A wide range of accessories made this camera a more complete system, allowing close-ups, added filters and quick tripod attachment. Some art photographers still shoot with Rolleiflex TLR film cameras and black-and-white film, the later 2.8F and 3.5F models being very popular.

[b]The Cameras[/b]

[b] TLRs[/b]

* Original Rolleiflex
* Standard Rolleiflex
* Rolleiflex Automat
* Rolleiflex Automat X
* Rolleiflex Automat MX
* Rolleiflex Automat MX/EVS
* Rolleiflex 4x4 Baby Rolleiflex (1930s)
* Rolleiflex 2.8A
* Rolleiflex 2.8B
* Rolleiflex 2.8C
* Rolleiflex 2.8D
* Rolleiflex 3.5C
* Rolleiflex 2.8E
* Rolleiflex 4x4 (1950s; in Gray and Black)
* Rolleiflex T
* Rolleiflex 3.5F
* Rolleiflex 3.5E
* Rolleiflex 3.5E2
* Tele Rolleiflex
* Rolleiflex 2.8F
* Wide Rolleiflex
* Rolleiflex 2.8F Aurum
* Rolleiflex 2.8F Platinum
* Rolleiflex 2.8GX
* Rolleiflex 2.8FX
* Wide Rolleiflex 4.0 FW
* Rolleiflex 2.8F Mini
* Rolleiflex MiniDigi

[b] Medium format SLRs[/b]

* Rolleiflex SL66 The most comprehensive information about all Rolleiflex SL66 camera models , Carl Zeiss lenses and original Sl66 accessoiries
* Rolleiflex SL66 E
* Rolleiflex SL66 X
* Rolleiflex SL66 SE
* Rolleiflex SLX
* Rolleiflex SLX Metric
* Rolleiflex 6002
* Rolleiflex 6006
* Rolleiflex 6006 Metric
* Rolleiflex 6008 Professional
* Rolleiflex 6008 Metric 3D Industrial
* Rolleiflex 6008 Professional Gold
* Rolleiflex 6008 Professional SRC 1000
* Rolleiflex 6003 SRC 1000
* Rolleiflex 6008 ChipPack Digital Metric
* Rolleiflex 6008 E
* Rolleiflex 6008 Q 16 Digital Metric
* Rolleiflex 6008 AF
* Rolleiflex 6008 integral
* Rolleiflex 6008 integral2
* Rolleiflex 6008 Metric
* Rolleiflex 6003 Professional
* Rolleiflex 6001 Professional

[url="http://members.aol.com/dcolucci/rolleitlr.htm"]Great Info[/url] about Rolleiflexes, their normal prices, and information guide!

[size=6]Holga(everyone's favorite camera)[/size]

[b]Background[/b] [img]http://www.heayes.com/images/holga_guide.jpg[/img]

Holgas are inexpensive toy cameras(See: [url="http://en.wikipedia.org/wiki/Diana_camera"]Diana[/url]) that were produced in 1982 in Hong Kong. The Holga's cheap construction and simple meniscus lens often yields pictures that display vignetting, blur, light leaks, and other distortions. Ironically, the camera's quality problems became a virtue among some photographers, with Holga photos winning awards and competitions in art and news photography.

[b]The Cameras[/b]

* Holga 120S - The original Holga. Fixed shutter speed, adjustable focus, plastic lens, ineffective adjustable f/stop switch, hot shoe, and 6x4.5 film mask. Out of production now.
* Holga 120N - Updated version with the same "Japanese" plastic lens, tripod mount, bulb exposure mode, an easier-to-move film counter window switch, and an additional 6x6 film mask.

* Holga 120SF - A standard Holga 120S, with a flash.
* Holga 120GN - A Holga 120N with a glass lens.
* Holga 120FN - A Holga 120N with a flash.
* Holga 120GFN - A Holga 120FN with a glass lens.
* Holga 120CFN - A Holga 120FN with a color flash.
* Holga 120GCFN - A Holga 120CFN with a glass lens.

[b]Lens Information[/b]

Most Holga cameras use a single-piece plastic meniscus lens with a focal length of 60 millimeters and can focus from about 1 meter/yard to infinity. There is an aperture switch on the camera with two settings: sunny and cloudy. Due to a manufacturing defect[citation needed], this switch has no effect and there is only one ('cloudy') aperture of around f/13 - although this switch may be easily modified to provide two usable apertures.

As all single-piece meniscus lenses, the Holga lens exhibits soft focus and chromatic aberration. Other Holga variants, denoted either by the letter 'G' in their model name, or the name WOCA, feature a simple glass lens, but are otherwise identical in construction. Almost the entire circle of light that the Holga lens projects is captured on film, which gives Holga pictures their characteristic vignetting.

* A Holga's interior can be "flocked" — coated with matte black paint — in order to limit the effect of light bouncing off the plastic interior from light leaks.[5]
* The Holga's aperture switch can be modified to set a large ('cloudy') and small ('sunny') aperture.[6]
* The lens, and sometimes the entire shutter assembly, can be replaced with a pinhole (the "Pinholga").[7]
* The plastic lens can be replaced with a glass version ("the "Woca").
* Newer models of the camera come with multiple optional frame inserts (4.5x6cm and 6x6cm). Shooting without an insert can lead to problems keeping the 120 size film flat against the film plane.

Some modifications permit the use of other film formats:

* Holga cameras may be fitted with a Polaroid back, allowing use of Polaroid 80 series instant film. This modification, sometimes termed a "Holgaroid", renders the viewfinder unusable.
* By sandwiching a normal 35mm roll of film into the Holga's 120 spool, "sprocket hole" exposures may be taken that expose the entire surface of 135 film.[8][9]

Cameras such as the Hasselblad have been modified to make use of a Holga lens.



[b]Background[/b] [img]http://www.luminous-landscape.com/images/645N-pc.jpeg[/img]

Pentax is one of the few camera manufacturers still producing medium format cameras. At the time of writing, there are two offerings, one in the 6×7 cm format (Pentax 67 II) and one in the 6×4.5 cm format (Pentax 645NII). Both use the 120 film format, which is a roll film. These cameras build on the Pentax SLR design experience. The shape of the Pentax 67 is broadly similar to a 35 mm SLR camera.

[url="http://www.luminous-landscape.com/reviews/cameras/645nii.shtml"]Good Website that i don't want to summarize.[/url]


[size=4]FAQ and other Information[/size]

READ [url="http://www.camerareview.com/templates/rating.cfm?Category=5&Sort=Count"]THIS!![/url]!!!!!!!!!!! Amazing site for camera reviews. A mixed lot of valuable and invaluable information coming from camera purchasers themselves.

ALSO!!! Read [url="http://medfmt.8k.com/"]THIS!![/url] you jerks!! It's got some pretty sick and easily available information.

-- It doesn't pertain that much, but here are some helpful links about MF that neilsonn posted a day or two ago.

[quote name='Neilson' post='1691129' date='May 9 2007, 03:36 PM'][url="http://photo.net/equipment/medium-format/focal-length-conversion"]http://photo.net/equipment/medium-format/f...ngth-conversion[/url]


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yeah it was, and other sites. took me like an hour and a half, i just thought this would be convenient because if kids don't research before they ask, they can just go like 1/4 a page up and read.

i also took some info that warren found, and elston, and pasted them from that thread into this one.

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I was pissed you stole my thread but you did way better than I could. I don't have time for this. haha.

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eh, i wanted to get off on the right foot so people could just read the original post, you hooked it up with some info though.

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[quote name='PatrickD' post='1693738' date='May 11 2007, 01:39 AM']yeah it was, and other sites. took me like an hour and a half, i just thought this would be convenient because if kids don't research before they ask, they can just go like 1/4 a page up and read.

i also took some info that warren found, and elston, and pasted them from that thread into this one.[/quote]
yeah this will definitly help some kids out since it puts all the general info into one place, good job, you might wanna find out some common medium format questions and put those in there like 120 film in 220 backs, that comes up a lot and maybe something about developing?

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probably never. a lot of kids are going to be intimidated by MF so they are gonna sell theirs and go back to digi haha.

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[quote name='cool_beans' post='1694052' date='May 10 2007, 10:15 PM']I wonder how long it will be before we'll have to do one of these on large format cameras.[/quote]

I was looking into some of that, it's hard to setup and kind of impractical for action photography.

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[quote name='ben decamp' post='1694169' date='May 10 2007, 09:19 PM']I was looking into some of that, it's hard to setup and kind of impractical for action photography.[/quote]
Don't say that.

Sight your sources cockfag.

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I'm shooting 4x5 this summer. I've been plannin on it since January. I just know someone is going to beat me to it though.

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for skating? or just in general?

JunkBrian did? or whatever his name is...

[url="http://www.flickr.com/photos/rohanhutchinson/"]this guy posted on here?[/url]

bunker shot some large format, I don't know if he did it for skating.

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[quote name='Elston Gunn' post='1694396' date='May 11 2007, 09:49 AM']Is there any reason to not get a 503cx over a 500cm?[/quote]
when I got my hassy the 500cm was less expensive, and to me it seems like with all the ttl and stuff its just one more thing that can go wrong with the camera
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Throw in somewhere that a "normal" lens is an 80mm for 120 film. Annd I'm pretty sure you need an 80mm lens for enlargers to print it.

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If you want a better image of a Yashica TLR then you have my permission to use this:


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[quote name='Tassie_my_dawg.' post='1694575' date='May 11 2007, 07:56 AM']Would anyone know why my Bronica SQ-a only syncs at 1/250th not 1/500th?[/quote]
ibelieve that is the result of your battery in the bottom of the sq-a being dead

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