The Greatest Medium Format Movie Cameras to Purchase in 2022


The previous decade has seen an explosion of movie customers. Whether or not that is pushed by a way of nostalgia, or a want to expertise the previous (for these too younger to have shot movie earlier of their life), for the simplicity, or maybe as a result of some celebrities have taken to capturing movie, it doesn’t actually matter. The truth is probably going a mix of many components.

Nonetheless, we’re constantly seeing rising costs for movie cameras on the used market (in addition to classic lenses). New producers of movie enter the market ceaselessly and each black and white and coloration 35mm, 120 (medium format), and 4×5 movie are available.

We now have put collectively a information that explored choices for these searching for choices for excellent 35mm cameras. Now, we’ll discover the extensive world of medium format, which immediately is shot on what is named “120 movie” and usually is available in 5 sizes: 6×4.5, 6×6, 6×7, 6×8, and 6x9cm. These symbolize wherever from about 2.62 to five.41 occasions the scale of 35mm movie (or “full-frame” digital). With high-quality lenses and fine-grained movie, a big medium format adverse can resolve impeccable element.

We now have damaged choices down into three classes (SLRs, TLRs, and Rangefinders) with three price-based subcategories inside these (Price range, Mid-Vary, and Premium). Whereas there are some very finances choices, such because the Seagull 4A or Lubitel TLRs, I discover no level in recommending mediocre (or downright terrible), unreliable cameras just because they’re absolutely the most cost-effective.

Thus, these selections are a mix of system value, availability, and high quality. Equally, not each class is created equal — rangefinders are inherently dearer than SLRs or TLRs, which naturally shifts the value scale upward. There are dozens upon dozens of manufacturers and fashions not listed right here — that is an inherent trait of any information of this nature and selections should be made. This isn’t a slight towards these not included, however merely a mirrored image of my private selections primarily based on very intensive expertise with nearly any digicam you possibly can identify.

Whereas used cameras can come from a wide range of sources, high quality can range. In our opinion, one of the best U.S.-based sources for classic cameras are Robert’s Digicam (UsedPhotoPro) in Indianapolis, Indiana, and KEH Digicam in Smyrna, Georgia. Each supply six-month warranties and free transport on a majority of merchandise.

At a Look

Single-Lens Reflex (SLR) Cameras

Price range: Mamiya 645 Sequence

Photograph by Matt Williams

Mamiya, on the time recognized for its C sequence of 6x6cm TLRs, Mamiya Six, Mamiya Press, and RB67 6x7cm medium format cameras launched its first 6×4.5cm digicam physique in 1975. The 645 format had not been utilized in forty years, making the Mamiya 645 the primary medium format SLR to make use of the 645 format, which allowed for 15 pictures on 120, or 30 on 220 (the extra standard 6×6 format would produce 12 pictures on 120 and 24 on 220).

There have been three generations of Mamiya 645 cameras. The primary included the M645, M645 1000S, and M645 J; the second launched the 645 Tremendous, 645 Professional, 645 Professional-TL, and 645E; the third and ultimate technology adopted an autofocus system and, within the late 2000s, partnered with Part One to operate with digital medium format backs — a few of these work with present Mamiya Leaf and Part One backs.

Whereas the second-generation Professional our bodies are glorious, they’re definitely not finances choices. Nevertheless, the unique M645, and successor M645 1000S, are fairly inexpensive. The one distinction is a bump from a prime shutter pace of 1/500 within the M645 to 1/1000 within the 1000S.

In contrast to most different medium format our bodies of the time, the first-generation Mamiya 645 our bodies shouldn’t have interchangeable backs. This isn’t a giant drawback in apply, however some photographers do like the power to swap to completely different movie shares earlier than ending a roll. The our bodies do, nevertheless, have interchangeable finders: two waist-level (one with a sports activities finder, one with out), an unmetered eye-level prism, three metered prisms (various variations), and one metered AE prism. The latter permits for aperture-priority autoexposure along with common handbook. The waist-level finders command the very best costs, typically.

Moreover, 5 interchangeable focusing screens — matte, microprism, checker, rangefinder spot with microprism, and rangefinder spot — can be found, together with further equipment such pistol handgrips (with and with out shutter set off) and an influence drive grip with automated movie advance.

The usual and most typical lens to search out paired with a Mamiya M645 is the Sekor C or Sekor N 80/2.8. The Sekor 55/2.8, 120/4 APO Macro, 145/4, 150/3.5, 55-110/4.5, and 105-210/4.5 are all very inexpensive choices. The Sekor C and Sekor N 80mm f/1.9 is the quickest lens within the lineup and among the many quickest medium format lenses ever made.

With an enormous library of lenses — which additionally work on higher-end fashions just like the Mamiya 645 Professional, do you have to select to improve later — and one of the crucial inexpensive our bodies available on the market, you actually can’t go mistaken right here. Mamiya 645 lens adapters are additionally available for almost any DSLR or mirrorless mount on the market.

Mid-Vary: Pentax 6×7 / Pentax 6×7 MLU

Photograph by Jan von Erpecom | Inventive Commons

In 1969, Asahi Pentax launched one of many few medium format cameras that basically operates like an enormous 35mm SLR.  From the normal pentaprism finder form to the lever-operated movie advance, the DNA of normal 35mm SLRs is obvious from the get.

The primary mannequin — the Asahi Pentax 6×7, additionally offered because the Honeywell Pentax 6×7 in North America — produced 60mm x 70mm pictures (really nearer to 56mm because of the movie’s rebate edge) on both 120 (10 frames) or 220 movie (20 frames). The physique is a hulking beast, weighing in at 5.1 kilos with the plain unmetered prism and normal 105mm f/2.4 lens. Like many medium format cameras, the prism is interchangeable — as is the focusing display — with waist-level and TTL (through-the-lens) metered prism choices along with the usual prism. Moreover, to help with the dealing with, there’s a somewhat iconic and really trendy left-handed accent wooden grip accessible.

The Asahi Pentax 6×7 was adopted by the Asahi Pentax 6×7 MLU in 1976, the Pentax 67 in 1990, and the Pentax 67 II in 1999. The 6×7 MLU is an identical to the unique 6×7, however with a mirror lock-up mechanism. This proves very helpful for tripod-based panorama, still-life, or sluggish shutter pace work — the large mirror kicks like a mule and whereas it’s extremely pleasing in an acoustic sense, it’s fairly vulnerable to inflicting vibration-induced blur.

There’s a big selection of lenses accessible for the system: the Pentax Takumar 105/2.4 being the usual “equipment” lens and one of many jewels of the system. Pentax 6×7 or Pentax 67 lenses total are usually very inexpensive — the SMC Takumar 45/4, 55/3.5, 55/4, 75/4.5, 150/2.8, 200/4, 55-100/4.5, and 90-180/5.6 are all fairly low cost, with a few of them simply discovered for beneath or round $100. Just like the Mamiya 645 sequence, there are adapters to simply about each DSLR or mirrorless mount for Pentax 6×7 lenses.

The Pentax 6×7 is considered one of my favourite medium format cameras. Although I doubt it’s a lot heavier (and probably lighter) than different 6×7 cameras just like the Bronica GS-1 or Mamiya RB/RZ67, this can be very dense, and its SLR-like type issue appears to belie its heft. It’ll offer you a exercise, however it’s price it.

Premium: Hasselblad 500 Sequence

Inventive Commons

What photographer hasn’t heard of Hasselblad? The Swedish producer is up there with Leica and Zeiss within the pantheon of the digicam greats. And the Hasselblad 500 sequence is, arguably, what launched them to greatness.

Earlier than the five hundred sequence, Hasselblad developed what it known as “the best digicam” within the late Nineteen Forties — a 6×6 medium format digicam generally known as the 1600F, adopted quickly after by the 1000F. Its modular design, with interchangeable lenses, viewfinders, winders, and movie backs, was revolutionary. TLRs dominated the medium format market and none, on the time, had any of these capabilities.

In 1957, Hasselblad debuted the 500C, the primary mannequin in its new sequence of cameras utilizing interchangeable leaf-shutter lenses, eliminating the problems inherent within the focal airplane shutter of the 1600F/1000F and permitting flash synchronization at each pace. A modified variation of the 500C would turn into the primary digicam to see outer house within the Apollo and Gemini flights.

From the introduction of the 500C, Hasselblad issued incremental upgrades in new fashions — the 500C/M, 501C, and 501CM are in all probability the most well-liked — ending with the 503CW which ceased manufacturing in 2013. These fashions fashioned the core of the Hasselblad “V System,” a reputation that solely took place as soon as Hasselblad launched the “H System” in 2002 so as to differentiate the 2. Whereas the V System consists of cameras outdoors the five hundred sequence, none are as fascinating nor as iconic.

Whereas the our bodies are extremely regarded for his or her construct high quality, reliability, ergonomics, and aesthetics, it’s arguably the road of unimaginable lenses that increase the Hasselblads to a different degree. There are over 70 lenses within the V system, although a very good variety of these are up to date fashions of the identical lens — the C and C T* lenses are the earliest, whereas the CF, CF FLE, and CF IHI lenses took place later.

With one exception, all C and C T* lenses had been made by Carl Zeiss, making for the last word fusion of two pictures titans. The sooner Zeiss C lenses characteristic a black, anti-reflection coating on the within, and people manufactured from 1959 to 1974 had been single-coated. In 1973, Zeiss started to implement its well-known T* multicoating to the lenses, therefore the C T* — this makes for improved flare management, larger distinction, and improved transmission (T-stop).

Lenses vary from a 30/3.5 F-Distagon (17mm FF-equivalent) to a 500/8 Tele-Tessar (275mm FF-equivalent), with the Zeiss 80/2.8 Planar being the “normal” lens. There was additionally one zoom lens, the Schneider 140-280/5.6 Variogon, which is kind of uncommon to search out.

With a number of the most intensive lens choices to probably the widest and most versatile collection of equipment of any medium format system, the V system’s 500 sequence are one of the best SLR medium format cameras you should purchase. To prime it off, the five hundred sequence is appropriate with many medium format digital backs, together with the present CFV II 50C.

Twin-Lens Reflex (TLR) Cameras

Whereas most of us know what an SLR (“Single Lens Reflex”) is, the idea of a TLR is extra overseas to many since their design was not carried over to the digital age. TLR (“Twin Lens Reflex”) cameras use, as you would possibly assume from the identify, two lenses — virtually all the time mounted vertically. The highest lens, generally known as the “viewing lens,” passes mild onto a mirror, which then bounces the picture onto the bottom glass — precisely how an SLR works. These cameras are virtually all the time used with a waist-level finder, which the photographer seems to be down into to view the projected picture, thus permitting them to border and focus.

The underside lens, generally known as the “taking lens,” is the same focal size (although the aperture, which is all the time extensive open, could also be barely completely different) and comprises a leaf shutter. This lens, upon firing the shutter, initiatives a picture immediately onto the movie. The benefits between a TLR and SLR are quite a few within the medium format world: the our bodies may be smaller and lighter, they’re total considerably easier to fabricate (and restore) with fewer factors of failure, there isn’t a viewfinder blackout, and they’re quieter and extra inconspicuous by an order of magnitude — there isn’t a loud, slapping mirror and the leaf shutter is almost silent, nearly vibration-free, and might flash sync at any pace.

The first disadvantages of TLRs are an absence of interchangeable lenses (with two exceptions), no zoom lenses, an absence of interchangeable finders (with few exceptions), an absence of interchangeable backs, a laterally reversed picture within the viewfinder, and that parallax error is an issue at close-focus distances, very like a rangefinder. Additionally, virtually all TLRs use the 6×6 format, although some supply adapters for 35mm movie to permit for wide-aspect ratio pictures.

Price range: Minolta Autocord Sequence

Photograph by KEH Digicam

After the Second World Struggle, Japan noticed probably the most spectacular collective effort at reconstruction the world had ever seen, and by the mid-Nineteen Fifties, the premium TLR market was fairly crowded. Chiyoda Kogaku Seiko Okay.Okay. (“Chiyoda Optics and Precision Business Co., Ltd.) launched its reply in 1955: the Minolta Autocord MXS. That very same 12 months additionally noticed the introduction of the Autocord MXV and Autocord L — the latter moved from an Optiper to Seikosha Speedy shutter with an elevated prime pace of 1/500, up from 1/400. It was additionally fitted with a selenium meter.

Between 1955 and 1966 a minimum of seventeen fashions of the Autocord hit the market. Variations from one to the following had been normally minor, however all Autocords shared a couple of main options: a famend 4 factor/3 group Tessar-type 75mm f/3.5 Rokkor lens, shutter speeds down to 1 second, a crank advance with automated shutter cocking and body counting, and the power to cock the shutter with out advancing the movie (permitting for double exposures).

The crank advance and automated shutter cocking was a uncommon characteristic for TLRs of the time, basically solely discovered on Yashica-Mat TLRs (launched in 1957) and the Rolleiflex fashions, the latter of which had been (and nonetheless are) considerably dearer than the Japanese counterparts. Different TLRs, just like the Rolleicord sequence, utilized a much less environment friendly knob advance and required the person to manually cock the shutter.

One other extremely regarded characteristic of the Autocords was the very ergonomic and clean focus lever, positioned beneath the lens board on the entrance, permitting for one-fingered focusing. Different TLRs, together with the premium Rolleiflex, used a spotlight knob which required the person to shift the digicam from one hand to a different so as to focus after which advance the movie. Every part on the Autocord may very well be performed with the person’s proper hand whereas the left cradled the digicam.

Sadly, the main target lever can be the Achilles’ heel of the Autocord — it’s manufactured from extraordinarily brittle zinc/aluminum alloy, and it is vitally frequent to see cameras with the lever snapped off. Even in case you have the snapped-off piece, you can not solder zinc/aluminum alloy, however I did have success utilizing sturdy fast weld epoxy as soon as. For those who don’t have the piece, the one resolution is both a DIY modification or one of many many 3D printed replacements accessible on-line. However so long as no matter digicam you buy nonetheless has the focusing lever connected, you’ll most probably not encounter any points — simply don’t drop it or apply extreme drive to the lever.

Whereas the Autocord is probably probably the most ergonomically well-designed TLR ever made, the true star was its Tessar-design 75/3.5 Rokkor lens. Many photographers of the time favorably in contrast the lens to the superb Zeiss Tessar 75mm and 80mm lenses within the Rolleiflex sequence.

For the value, the Autocord sequence merely can’t be overwhelmed. I like to recommend discovering a mannequin with out a meter, because the outdated selenium or CdS meters hardly ever withstood the check of time, and the streamlined design of the meter-less variations is extra aesthetically pleasing in my thoughts.

Mid-Vary: Mamiya C330

Photograph by Guillaume Piolle | Inventive Commons

Beginning in 1956, Mamiya started to supply its third sequence of TLRs, the Mamiya C sequence, which headlined one notable characteristic: interchangeable lenses. On the time, there was no different TLR with the power to alter lenses, and just one different was ever launched — the Koni-Omegaflex.

The C-series began with the Mamiyaflex C and progressed to the Mamiyaflex C2, Mamiya C3, Mamiya C33, Mamiya C22, Mamiya C220, and Mamiya C330. The latter mannequin, launched in 1969, was an improved model of the C33 and probably the most full and feature-packed of all of the C-series fashions.

Like the opposite fashions, the C330 options an interchangeable finder (chimney type magnifier, eye-level prism, and the usual waist degree), however now launched the power to alter focusing screens as nicely, with six choices to select from.

All of the C-series function in the identical normal manner. Focusing is completed by rotating one of many two front-positioned knobs (one on the left, one on the suitable), which then extends the complete entrance meeting through a bellows system. Lenses can simply be swapped by unlocking the lens, which might increase a baffle flap in entrance of the movie to forestall mild leaks, after which releasing a retaining clip after which you may merely take away the lens meeting.

Since it’s a TLR, every “lens” is mostly a lens block containing two lenses of equal focal lengths — a viewing lens on prime and a taking lens with an built-in shutter on the underside. Lens choices vary from a 55/4.5 to a 250/4.5, with the 80/2.8 being the “normal” choice mostly discovered paired with the cameras.

Together with the interchangeable floor glass focusing screens, the C330 is the one mannequin that mechanically cocks the shutter when advancing the movie through the crank. It additionally encompasses a revised parallax selector knob that now consists of choices for the 55mm, 65mm, and 250mm lenses.

For those who’re on the lookout for a less expensive choice, you don’t lose a ton by going with the Mamiya C220 and even the Mamiya C33.

Premium: Rolleiflex 2.8/3.5 “Letter Mannequin” Sequence

Photograph by KEH Digicam

After World Struggle II, the German firm Franke & Heidecke, well-known for its Rolleiflex and Rolleicord sequence of TLRs, discovered itself in restoration after a bombing raid destroyed its Braunschweig Manufacturing facility. The Rolleiflex sequence had been available on the market since 1928, so Franke & Heidecke determined to pivot to a barely extra premium design. Thus started the so-called “Letter Mannequin” sequence, denoted by way of a letter on the finish — Rolleiflex 2.8A or Rolleiflex 3.5C, for instance. The numbers denoted the f-stop, with the two.8 sequence that includes the quickest f/2.8 lenses, in contrast to prior fashions (and people from different producers) which had been all f/3.5.

Like different Rolleiflex fashions (and in contrast to the extra inexpensive Rolleicords), the Rolleiflex “Letter Mannequin” sequence makes use of a crank winder to advance the movie and concurrently stress the shutter. A significant change, nevertheless, was the transfer from a Zeiss Tessar lens to a extra complicated and superior Zeiss Planar design — some fashions additionally adopted a Schneider Kreuznach Xenotar lens. The one exception is the early Rolleiflex 2.8B, which was fitted with an 80mm Zeiss Biometar — this mannequin is extraordinarily uncommon.

Whereas the three.5 fashions continued with the usage of 75mm lenses, the two.8 sequence moved to 80mm. The distinction is in the end minor — about 37.5mm versus 40mm, in full-frame equivalence.

Whereas all Rolleiflex fashions command a premium over most different TLRs, the Letter sequence does so at an excellent larger degree. As you may think, the two.8 fashions are much more costly than the three.5 sequence. However costs have risen fairly a bit lately, so one might make the argument for them as each a instrument and an funding. Plus, nearly as good because the Zeiss Tessar lenses had been, the Zeiss Planars had been a step above.

Rangefinder Cameras

Price range: Koni-Omega Speedy Sequence

Photograph by Ashley Hoff | Inventive Commons

In 1954, Simmon Bros. N.Y., recognized for his or her line of enlargers, launched the Omega 120 — a 6x7cm rangefinder digicam with a 90/3.5 Omicron lens. The design of this digicam was later acquired by Konica, which then produced a line of rangefinder press cameras that might seize ten exposures on a roll of 120 and 20 exposures on a roll of 220.

The cameras had been fitted with a hand-grip on the left and the movie was superior through a pull-push mechanism on the right-hand aspect, permitting for very fast capturing (therefore the identify Speedy). Above the pull-push movie advance is a big knob that strikes the complete lens block through a rack-and-pinion system to focus. Because the knob is turned, pins on the rear of the lens work together with a rangefinder focusing system, and the person determines focus through the rangefinder patch in the midst of the viewfinder.

The Koni-Omega Rapids are very fluid in use and fairly light-weight in comparison with different 6x7cm cameras of the time, largely owing to the rangefinder design. The lens lineup is slim in comparison with medium format SLRs, however such is the character of non-Leica rangefinders. The usual lens is a six-element/5 group 90/3.5 Tremendous Omegon or 90/3.5 Hexanon, yielding an approximate 45mm full-frame equal area of view.

Additionally accessible are 58/5.6 Hexanon, 60/5.6 Hexanon, 135/4.5 Hexanon, and 180/4.5 Hexanon. The Omega 120, Koni-Omega Speedy, and Koni-Omega Speedy M have 90mm and 180mm framelines, whereas the later Koni-Omega M, Speedy Omega 100, and Speedy Omega 200 have an extra body line for the 135mm lens. The broader angle lenses require an exterior shoe-mounted viewfinder on all of the fashions.

The most effective choices are the later Speedy Omega 100 and Speedy Omega 200 — the latter permits for mid-roll movie modifications through its interchangeable journal, very like the interchangeable backs of different medium format cameras.

Mid-Vary: Fuji GS645 Skilled Sequence

Photograph by KEH Digicam

Fujifilm — regardless of producing over a dozen Fujica 35mm SLRs, a couple of Fujica medium format cameras, and plenty of Fujica 35mm compact cameras — was principally recognized for its 35mm, 120, and enormous format movie. Within the early Eighties, nevertheless, Fujifilm started manufacturing on new traces of fastened focus and autofocus 35mm compacts and moved from the “Fujica” moniker to easily “Fuji.” A variety of these — the Fuji DL sequence, Fuji Cardia, and Fujifilm Klasse traces — discovered nice success.

Across the identical time, Fujifilm entered the high-end fixed-lens medium format rangefinder market with its sequence of Fuji GS, GW, and GSW cameras. These had been produced in 6×9, 6×8, 6×7, and 6×4.5cm codecs. Essentially the most inexpensive of those had been the Fujica GS645 Skilled and Fuji GS645S Skilled Wide60 — there was additionally the Fujica GS645W Skilled, however this was a scale focus digicam with out a rangefinder.

All three cameras share almost an identical our bodies and seize pictures within the 6×4.5 format on both 120 or 220 movie. They characteristic a light-weight, folding physique, a bellows system for focusing, leaf shutter lenses with speeds from 1 to 1/500 of a second and a built-in LED mild meter, powered by two LR44 (often known as A76 or SR44).

The Fujica GS645 Skilled is distinguished by its 5 factor EBC Fujinon S 75/3.4 lens and a 0.63x magnification rangefinder with parallax correction.

The Fujica GS645S Skilled Wide60 was launched the next 12 months, fitted with a brand new EBC Fujinon W 60/4 Zeiss Orthometar-type lens with 7 components in 5 teams. The 60mm lens (about 35mm full-frame equal) was chosen after the 45mm f/5.6 (about 28mm equal) lens of the scale-focusing GS645W was criticized as being too extensive. Just like the GS645, the digicam has a parallax-corrected rangefinder, although with a barely decrease magnification of 0.5x.

Since these rangefinders transport the movie horizontally, in contrast to most different 6×4.5 cameras which transfer vertically, pictures are captured in portrait orientation when the digicam is held usually. This could take just a little getting used to, particularly in case you primarily shoot in panorama orientation.

Whereas not rangefinders, the Fujifilm GA645 sequence encompasses a related design (with a rangefinder-like viewfinder), however with the addition of autofocus. The Fujifilm GA645Zi is even fitted with a 55-90/4.5-6.9 zoom lens that strikes in increments from 55 to 65 to 75 to 90mm. In contrast to the rangefinders, these are motor-driven and completely battery-dependent.

Premium: Plaubel Makina 67 / Plaubel Makina W67

Photograph by Hamish Gill from his glorious assessment

Plaubel, a German digicam maker based in 1902 by Hugo Schrader, turned well-known for the Makina sequence of press cameras, which had been first launched in 1911. By the Seventies, Goetz Schrader, the son of Hugo Schrader, determined to promote the corporate as he was rising outdated, and the Kimio Doi of the Japanese Doi Group bought the corporate in 1975. Shortly thereafter, Doi had Plaubel start the event of a brand new digicam with a specifically developed lens by Nikon.

The end result was the Makinette 67, a prototype that premiered at Photokina in 1976. Doi, nevertheless, was not happy with the design and went again to the drafting board. He sought the assistance of Konica and enlisted Yasuo Uchida (designer of the Konica C35 EF “Pikkari”) as lead designer. The 2 major necessities had been that the digicam shoot medium format and the lens needed to be distinctive — compactness, sturdiness, and ease of operation had been additionally excessive on the listing. There was some disagreement between Doi and Uchida: Doi wished the digicam to be automated publicity, whereas Uchida wished a lens from Konica as an alternative of Nikon. Doi relented on the previous, agreeing to a built-in mild meter with handbook controls, and Uchida accepted the Nikkor 80/2.8 lens (40mm equal) after testing a duplicate and discovering it to be of extraordinary high quality.

The tip end result was a strut folding rangefinder digicam with a standard movie advance lever, shutter pace and aperture dials on the lens, and a considerably odd, however extraordinarily practical, focusing dial across the shutter launch button. The situation of this dial allowed the person to regulate the main target with their finger — aligning the rangefinder patch within the viewfinder as common — and take a photograph very simply and shortly.

Under the movie advance lever on the again of the physique is a small button that prompts the sunshine meter — a primary three LED readout within the finder window. Clearly, a battery is required to energy the meter, however the remainder of the digicam stays absolutely mechanical.

The later Plaubel Makina W67 encompasses a wider-angle Nikkor 55/4.5 lens (about 28mm equal) and some design modifications similar to a ribbed physique and rubber ring across the focus dial.

For those who desire an interchangeable lens digicam, look towards the Mamiya 6 or Mamiya 7 — each extremely regarded cameras, however fully completely different in design and operation to the Plaubel Makina 67. They’ll additionally value you a good bit extra, particularly the Mamiya 7, however you do acquire benefits just like the interchangeable lenses and aperture-priority autoexposure.


Picture credit: Header picture licensed through Depositphotos.

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