Mamiya RZ67

Medium Format Film Camera

Mamiya RZ67 Pro IIDMamiya RZ67 Pro IID The Mamiya RZ67 Pro II medium format analog film camera is quite possibly one of the best cameras ever made. I have owned more than one since my first purchase of a brand new system in 1996.

I primarily use the camera for landscapes or still life.  I don't do portrait photography, but the RZ67 is legendary for portraits and many contemporary photographers use it for street photography too. 

The Mamiya RZ67 camera system is a professional medium format SLR system camera manufactured by Mamiya. There are three successive models: the RZ67 Professional (first model released in 1982), RZ67 Professional II (released in 1993) and RZ67 Professional IID (released in 2004) and manufactured until 2014 making it the newest version available.  

It is worth noting the Pro IID model has the integrated interface for connecting to digital backs.  I have no personal interest in this feature, but others may, and so I thought I would mention it.  My interest in the IID is finding one of the later editions in hopes the camera will last even longer. 

Mamiya RZ67 Pro IIDMamiya RZ67 Pro IID RZ67 is a modular camera system, meaning lenses, viewfinders, ground glasses, film winders and film backs are all interchangeable.

The RZ67 Sekor lenses have built-in electronic leaf shutters which are cocked and triggered from the body. Focusing is performed with a bellows on the body instead of the lenses and the shutters are operated via the 4LR44 battery in the base of the camera. The electronic shutter can be used in emergency full mechanical mode with a fixed 1/400 shutter speed.

I use my RZ67 Pro II with the waist level finder 100% of the time and have no desire to use the AE prism viewfinder.  I typically work with large and ultra large format cameras, so looking at the ground glass in the waist level finder is a familiar and comfortable approach to me.

One of my favorite features on the RZ67 camera is the revolving back which allows me to switch from horizontal to vertical images by simply rotating the film back. 

Also, multiple exposures are possible using the M-mode.

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RZ67 LENSES & ACCESSORIES THAT I OWN
Tilt-Shift Adapter (NI701)
Ground Glass for T/S Adapter 
120 Roll Film Backs 
No 1 and No 2 Extension Tubes

50mm F4.5 W (77mm Filter, MFD=45mm)
65mm F4 L-A (77mm Filter, Floating Lens Elements, MFD=85mm)
75mm F4.5 W Shift Lens (105mm Filter, MFD=114mm)
110mm F2.8 W (77mm Filter, NFD=300mm)
140mm Macro F4.5M L-A (77mm Filter, MFD=500mm)
150mm F4 SF C (77mm Filter, soft focus lens)
180mm F4.5 W-N (77mm Filter, allows flash sync at any speed, MFD=800mm)
180mm F4.5 L SB  (77mm Filter, Works on Tilt-Shift Adapter, MFD=1800mm/70 in.)
180mm F4 D/L VSF (77mm Filter, variable soft focus lens, MFD=780mm)
250mm F4.5 APO (77mm Filter, MFD=1500mm/59 in.)

MFD (Minimum Focusing Distance)


MOST USED FILMS

If you have been following for me any length of them, then you already know that I specialize in black and white handmade prints in the darkroom.  This means that I rarely ever use any type of color film. 

For my day to day film in the RZ67 Pro II, I use HP5 and I can vary the EI rating from 200 to 1600.  For landscapes, I like to use Ilford Pan F 50 and rate it at EI 25.

I have tested and tried many black and white film developers over the years and recently I have switched to using Kodak HC-110 for almost all of my films.  The convenience and reliable development of HC-110 has won me over. 

I develop Ilford Pan F rated at EI 25 for normal development using HC-110 B (1+31) for 4 minutes and 15 seconds at 20C. 

I develop Ilford HP5 rated at EI 200 for normal development using HC-110 B (1+31) for 5 minutes and 15 seconds.  When I rate HP 5 at EI 400, I develop for 6 minutes, EI 800 7 minutes 30 seconds, and EI 1600 11 minutes.  


MY WORKFLOW

As I mentioned above in the film section, I make handmade prints of many different types by hand in the darkroom, so therefore, I don't scan my film or use a hybrid workflow.  I have taught many workshops regarding hybrid workflows, I just don't use that approach for my fine art prints. 

I mostly make enlarged negatives from the 35mm film so I can use my 8x10 enlarger for making large scale silver gelatin fine art prints. My silver gelatin workflow is standardized on the 8x10 negative format. 

I also make enlarged negatives for making a variety of different handmade contact prints to include silver gelatin, silver chloride, platinum/palladium, bromide, gum bichromate, and others. 

I don't choose to use Photoshop or digital negatives for my fine art prints because I enjoy my pure analog processes and my vision is realized through the handmade analog methods.  

 


 

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