The Most Beautiful Cameras of All Time, Part 3: Analog 2-1/4 SLRs
9 hours ago
The Most Beautiful Cameras of All Time, Part 3
10 Gorgeous medium format roll film SLRs of the analog era
By Jason Schneider
With the eternal caveats that beauty is inherently subjective and that there’s no disputing taste, here are my fearless picks as the 10 most beautiful medium format SLRs that use good old-fashioned film as the capture medium. The fact that most of them happen to be very good cameras may or may not be coincidental, for as a wise philosopher once opined, “beauty is as beauty does.” Finally, before you let the brickbats fly, please remember that this is all done in fun and that your choices, though different, may well be as valid as mine.
Bronica Z and D: Named for company founder Zenzaburo Yashino, the Zenza Bronica Z of 1958 was an audacious and largely successful attempt to surpass the focal plane shutter Hasselblad. It pioneered several key technological advances in 2-1/4 SLRs, including an instant return mirror, an extensive line of internal auto diaphragm Nikkor lenses, and a vertical travel cloth focal plane shutter with a top speed of 1/1250. Ultra-close focusing is provided by mounting each lens head on a geared non-removable focusing tube that extends to a minimum focus distance of 18cm. It’s operated by an ingenious multi-functional control knob that provides focusing when in normal mode, and film advance and shutter cocking when the knob is pulled outwards. In 1960 Bronica introduced the slightly revised Bronica DeLuxe or D that has upgraded winding gear metallurgy and semi-auto-loading film magazines instead of fully automatic ones, both to enhance reliability. The Bronica Z and D, which look nearly identical, feature exquisitely crafted stainless-steel bodies and both are drop dead gorgeous clad in two-tone gray leather textured material—arguably the most beautiful 2-1/4 square SLRs ever made. Unfortunately, both the Bronica Z and D were delicate, plagued by reliability issues, and produced in small quantities, which is why they’re cult collectibles today. They did evolve into the more successful Bronica S, S2, and S2A. The Z is virtually unobtainable, and clean functional Bronica D with 75mm f/2.8 Nikkor-P normal lens will set you back $3,000-$4,000. Fair warning: Photographs alone cannot do justice to the amazing beauty of these cameras; they must be experienced in the metal.
Bronica D (DeLuxe) of 1960 is a dead ringer for the original Bronica Z of 1958. Both are drop dead gorgeous clad in 2-tone gray, but they had reliability issues.
Reflex-Korelle: One of the first 2-1/4 SLRs (it was preceded by the Eichapfel Noviflex by a few months) and the first truly successful one, the 2-1/4 square Reflex-Korelle was launched in 1935 by Franz Kochmann of Dresden, Germany and was developed through the ‘30s with successive models II, IIa, and III. All feature side-to-side film transport, cloth focal plane shutters, and interchangeable, helicoid focusing lenses, in screw mount except for the model III. All are handsome, beautifully proportioned cameras with combined film wind and shutter cocking and mirrors that return to viewing position when finger pressure on the shutter button is relaxed after the exposure. This cool feature doesn’t qualify as an instant return mirror. The standard lens is an 80mm f/2.8 Zeiss Tessar with a minimum focus distance of 3 feet and lenses by Zeiss, Schneider, Meyer, Cooke, and Dallmeyer were made in focal lengths from 75mm-360mm. Perhaps the best-looking model was the Reflex-Korelle III of 1939 with a chrome finished top plate, front plate and viewing hood, redesigned controls, bayonet mount, and shutter speeds from 2 sec to 1/1000 sec. An Electro-Korelle with an internal coupled light meter was planned but never produced. After WW II, Korelle was nationalized as VEB WEFO and produced the Meister-Korelle, sold in the U.S. as the Master Reflex. What’s more important, the Korelle’s basic design and configuration was carried forth in the Exakta 66, Praktisix, Pentacon 6, Norita 66, and the Ukrainian Kiev 60 and exerted a strong influence on the Pentax 6x7. A clean functional Reflex-Korelle (any model) with normal lens currently fetches about $200-$350.
Reflex-Korelle of 1935 featured a swing back, lateral film travel, and a focal plane shutter. In production for over 20 years its design was very influential.
Prettiest Reflex-Korelle? Many collectors say it's the Model III of 1939 which had a chrome front and top and a bayonet lens mount.
Hasselblad 503CW: The Hasselblad 500C introduced by Hasselblad in 1957, was the first of a long running line of V-series Hasselblad models (named in honor of Victor Hasselblad) that incorporated a Synchro-Compur 1-1/500 sec plus B leaf shutter in each lens (hence the name “500C”) instead of the corrugated metal in-body focal plane shutter used in the original Hasselblad 1600F of 1948 and the Hasselblad 1000F of 1953. The decision to create an entirely new camera based on the same iconic form factor and modular design overcame the unresolved reliability problems that plagued the focal plane shutter models and had the added advantage of providing full flash sync at all speeds, a feature valued by studio photographers. Another crucial factor ensuring the camera’s success is that Zeiss committed to producing a new range of outstanding lenses in Hasselblad bayonet mount, all with the then advanced feature of auto aperture stop-down. The 500C led to multiple iterations spanning more than 50 years, all with various modifications, However, all V-series Hasselblads are stunning, beautifully proportioned “form follows function” designs that are a pleasure to behold and to shoot with, and bear a striking family resemblance to one another. The 500C/M released in 1970 added interchangeable viewing screens and offered an accessory prism viewfinder with built-in meter. The 503CX of 1988 had built-in flash control (OTF metering) and introduced a brighter focusing screen. Then, after the 503CXi and 501C of 1994, came the 503CW that used a new larger mirror for improved finder coverage in the corners of the field and dispensed with the foam inserts used to position the finder screen that required periodic replacement to ensure focusing accuracy. All these successive improvements were included in the final Hasselblad 503CWD which was coupled with a digital back and released in 2006 as a Millennium edition to commemorate the 100[SUP]th[/SUP] Birthday of Victor Hasselblad. Our favorite, the Hasselblad 503CW, is currently listed for $3,000-$4,500 in pristine condition with A12 magazine, 80mmm f/2.8 Zeiss Planar lens and waist-level finder on the leading online auction sites.
Hasselblad 503CW of 1994 incorporated a longer mirror and other improvements but retained the timeless classic Hasselblad modular form factor.
Hasselblad 500CWD Millennium of 2006, shown with 80mm f/2.8 Planar lens, coupled with digital back. It celebrated the 100th birthday of Victor Hasselblad.
Norita 66: Norita Kogaku K.K. was founded in 1951 by Norita Toshio, who, along with lens designer Maruyama Shuji, had worked for the prestigious Tokyo Optical Co. Norita was a subcontractor for Musashino, supplying Rittron lenses for their Rittreck 6x6cm SLR, and at least a few of the Zenzanon lenses sold by Bronica. After Musashino went bankrupt in 1969. Norita took over the machine tools, enlisted some of Rittreck’s staff, and began producing the Norita 66, a modified, rebadged version of the Rittreck 6x6 that was released in 1972. The company distributed the camera in the U.S. under an arrangement with Graflex (a division of Singer), which marketed the camera as the Graflex Norita, and it was sold as the Warner 66 on export markets. The Norita 66 isa a compact 2-1/4 x2-1/4 square format SLR with a removable eye-level prism with center split image rangefinder and microprism collar, and lateral film transport via a top-mounted ratcheted wind lever. Aimed at photojournalists, industrial photographers, and serious enthusiasts, it features a horizontal cloth focal plane shutter with speeds of 1-1/500 sec plus B and X-sync at 1/40 sec, and an instant return mirror. The standard lens is a fast 80mm f/2 Noritar, the fastest medium format lens at the time and one of the camera’s chief attractions, plus a full range of breech-lock bayonet mount Noritar lenses ranging from an acclaimed ultra-wide-angle 40mm f/4 to a 400mm f/4.5. A 70mm f/3.5 Noritar leaf shutter lens provided full flash sync at all speeds up to 1/500 sec. Compatible with an accessory waist-level viewfinder and eyelevel CdS meter prism, the Norita 66 accepts 120 or 220 film, has a depth of field preview, and provides multi exposure capability. We’ve included it here because of its spare, purposeful, masterfully integrated design, especially when fitted with a plain prism finder. Its black enamel finish also showcases its beautifully balanced form factor and distinctive contours, giving it a unique and assertive “presence.” While the Norita 66 is an excellent user camera capable of impressive performance in the field the fact that it’s exotic and relatively scarce has increased the price for good used examples. A clean fully functional Norita 66 with plain or meter prism and 80mm f/2 Noritar lens currently fetches about $900-$1,100 on the online auction circuit.
Norita 66 of 1972 was prized for its outstanding 80mm f/2 Noritar lens, then the fastest on any 2-1/4 SLR. Well balanced, Its classic form factor is timeless.
Pentax 6x7 (Pentax 67 after 1990): Released in 1969 as the Pentax 6x7 (Honeywell Pentax 6x7 in the U.S.) the camera resembles a supersized 35mm SLR complete with interchangeable pentaprism viewfinder and top-mounted wind lever but it’s considerably larger and heavier, measuring 7.5 x 5.75 x 6.5 inches (W x H x D) and weighing in at a hefty 5.1 pounds with plain prism and 105mm f/2.4 SMC Takumar normal lens. It provides a 6 x 7 cm format on 120 or 200 film (actual 56 x 70mm), has a dual bayonet mount (inner for lenses 35mm to 300mm; outer for lenses from 400mm to 1000mm), an electromagnetically timed, spring driven cloth focal plane shutter with speeds of 1-1/1000 sec plus B, and X (at 1/30 sec) powered by a 6v silver oxide PX28 or equivalent battery, and a swing-back-and-up type instant return mirror. The most obvious differences from standard 35mm SLR practice is the location of the shutter speed dial atop the left-hand side of the body and the lens release on the left side of the mirror housing. The camera’s basic form factor and design were perhaps inspired by such European predecessors as the Praktisix and Pentacon Six, or even the VP Exakta of 1933, the first “horizontal concept” roll film SLR. Iterations of the Pentax 6 x7 include the original model of 1969, the addition of a mirror lock-up (MLU) in the second generation, the 3[SUP]rd[/SUP] generation Pentax 67 of 1990 with minor cosmetic changes, and the last of the breed, the recently discontinued Pentax 67II introduced in 1998. Its specifications are very similar to the previous models, the most notable upgrades being a built-in right hand grip, and a dedicated time mode switch (PS TIME) below the mirror up dial so long exposures don’t consume as much battery power. In addition, the PC terminal for FP (bulb) flash sync has been replaced with the Pentax speedlight 5P connector and an LCD was added to display a frame counter, ISO in use, film load status, battery status, shutter cocking, and flash status. Finally, a new self timer mode and multi-exposure mode are included, and the battery has been changed to a pair of CR123A lithium cells.
Pentax 6x7 of 1969 was high tech with an electronically timed shutter, instant return mirror and auto diaphragm lenses. Note non-standard soft release, lugs.
All Pentax 6x7 and Pentax 67 models are compatible with a succession of coupled TTL meter prisms, first with CdS cells, later with GPD cells, 90mm f/2.8 and 165mm f/4 leaf shutter lenses, waist-level finders, a host if system accessories, and one of the largest lens arrays of any medium format SLR, all excellent or better in performance. These beautiful black cameras look best with a plain prism and a short prime lens such as the standard 105mm f/2.4 SMC Takumar or Pentax (an outstanding optic by the way) which showcases their straightforward, perfectly proportioned, elegantly assertive, angular design. Expect to pay about $900-$1,300 for a Pentax 6x7 (any vintage) in excellent or better condition with plain or meter prism and 105mm f.2.4 SMC Takumar or SMC Pentax lens.
Rollefilex SL66: Introduced in 1966 as twin lens reflexes were on the decline, The SL66 was Rollei’s attempt to build a 6x6 cm SLR worthy of their proud heritage, and one that would surpass the Hasselblad in terms of features. The SL66 did both, by incorporating a bellows behind the front standard to allow ultra-close focusing without accessories, a vertical run, mechanical cloth focal plane shutter with speeds of 1-1/1000 sec plus B and T and X sync at 1/30 sec, an interchangeable folding waist level finder with interchangeable focusing screens, and a unique tilting lens board that swings upward or downward by 8 degrees to provide extended depth of field even at wide apertures based on the Scheimpflug principle. Most Rollei SL66 lenses except for very wide or long ones can be reverse mounted without adapters for use in close-up or macro photography. Detachable 120/220 film magazines in 6 x 4,5 cm and 6 x 6 cm format feature auto first frame positioning and frame counting, and body controls are similar to Rollei TLRs with a film advance knob with flip-out crank on the right and focusing knob in the left. Accessories include an optional (uncoupled) TTL meter prism and lenses from 30mm to 1000mm made by Carl Zeiss (West) Carl Zeiss Jena, Rollei HFT, Novoflex, and Rodenstock. Leaf shutter lenses include an 80mm f/4 Distagon and a 150mm f/4 Sonnar, and a 75mm f.4.5 PCS-Rolleigon shift lens was also available.
Rolleiflex SL66 has a formidable array of features including close focusing via a bellows and a tilting lens board for DOF control, but it was (and is) expensive!
The Rollei SL66 is larger and heavier than its archrival, the 500-series Hasselblad, measuring 156mm x 111mm mm x 172mm (W x H x D) and weighi9ng on at 1.9kg (4 pounds 3 ounces), and its special features, excellent build quality, and the robust overall specs came at a high price. The SL66 cost $1,300 when it debuted, compared to $750 for the closest comparable Hasselblad. Nevertheless, it was offered in various iterations for almost twenty years and was produced until 1992 with additional electronic improvements. The SL66 E (1982-1992) finished in black, provides open aperture metering with suitable lenses; the SL66 X (1986-1992) adds flash metering and employs the same black outer shell as the SL66 E; the SL66 SE was upgraded with spot metering and deleted the auto first frame positioning feeler mechanism in the magazines. Despite its longevity the Rolleiflex SL66 was produced in relatively modest quantities, and it holds its value remarkably well because it’s a prized user collectible that’s very versatile, and capable of topnotch performance. It’s also an exquisitely proportioned very esthetic design that’s distinctive, attractive, balanced and embodies a unique gravitas. These qualities do not come cheaply and a standard Rollei SL66 with 80mm f/2.8 Planar lens, standard magazine, and waist-level finder in pristine condition will lighten your wallet by about $1,700-$2,000.
Mamiya RZ67: A brilliant redesign of the very successful Mamiya RB67 first introduced in 1970, the RZ67, which debuted in 1982, is a modular 6x7 cm format SLR with interchangeable viewfinders, lenses, film backs, viewing screens, and winders. Like its predecessor, it excels in the studio but is also adept in the field. RZ lenses have built-in electronically timed Seiko #1 leaf shutters that are cocked and fired via the body, and, like the BB67, the RZ’s front standard rides on a robust dual rack-and-pinion mechanism, extending the large bellows for close focusing, and the revolving back feature has also been retained. The camera accepts a variety of back for 6x7cm, 6x6 cm, and 6x4.5 cm formats on 120 and 220 film and RB67 backs can be used via a G-Adapter. Model II backs include a second film counter for easy viewing in any position. The RZ67 is powered by a single PX-28 or equivalent 6v silver oxide or alkaline battery that provides electronically timed shutter speeds of 8 sec to 1/400 sec plus B and T and has an emergency 1/400 sec speed useable without battery power. Other features: Manual lever wind, mirror flip-up, multi-exposure capability, remote cable release, electronic shutter trigger socket, finder LEDs for flash ready low battery, dark slide and shutter status, and the ability to use RB67 lenses in RBL compatibility mode. The camera provides Aperture Priority AE when fitted with an accessory AE prism finder. The RZ67 Pro II released in 1993 includes upgraded electronics, an additional fine focusing knob on the right side of the focusing unit, and shutter speeds adjustable in 0.5 EV steps. The final model, the RZ67 Pro IID of 2004 has an integrated interface for communicating with digital backs and minor internal mechanical improvements. Like the RB 67 the RZ uses a custom breech lock bayonet mount that supports a staggering variety of Mamiya-Sekor lenses ranging from a 37mm f/4.5 Fisheye to a 500mm f/6 APO, including a 75mm f/4.5 Shift lens, two 140mm f/4.5 Macros, a 180mm f/4 Variable Soft Focus, and a 100-200mm f/5.2 zoom. The Mamiya RZ67 measures 114mm x 133.5mm x 211,5 mm ( W x H x D) and weighs in at 2.4kg (5.29 pounds) with standard waist-level finder and 110mm f/2.8 normal lens. Its body is lighter than the RB67’s due to the use of plastic outer body panels. For a camera of its complexity, size and features it’s very attractive, well proportioned, and nicely balanced—and more visually attractive piece than its predecessor. A Mamiya RZ 67 in pristine condition with 120/220 back, standard waist-level finder, and 110mm f/2.8 Mamiya-Sekor Z lens is currently priced at about $1,200-$1,600.
Mamiya RZ 67 of 1982 was an upgraded, lighter version of the RB67. This is the final iteration, the RZ67 Pro IID of 2004, that added a digital interface.
Bronica EC-TL: Released in 1972 the Bronica EC replaced the all mechanical S2A in the lineup, and was the first Bronica with an electronically timed, vertical travel cloth focal-plane shutter with speeds of 4 sec to 1/1000 sec plus B and X sync at 1/60 sec. Powered by a 6v PX28 or equivalent battery in the base, it also provides a mechanical speed of 1/40 sec operable without battery power. Other features built into the somewhat larger body include an ingenious instant return two-piece split mirror, part of which flips up and the other part down, to help minimize camera shake, an interchangeable finder with easily interchangeable screens, a mirror lock, a depth of field preview button, a combined film wind knob/crank, and interchangeable 12/24 exposure backs for 120/220 film that are incompatible with those of previous models. An interchangeable lens mount with large and small bayonets and a 57mm threaded mount accepts Bronica mount lenses from all previous focal plane shutter models. A bizarrely ugly but workable accessory TTL CdS meter prism was available for the EC. The Bronica EC-TL introduced in 1975 adds a built-in TTL exposure meter employing a single silicon cell behind the mirror for instant stop-down exposure measurements as well as aperture priority autoexposure at the “A” setting on the shutter speed dial. Thirteen shutter speeds and 2 exposure warning arrow LEDs are displayed along the top of the finder and ASA settings from 25-3200 and readings from EV 4-19 at ASA 100 are possible. The EC-TL was one of the first medium format SLRs to offer autoexposure capability a key feature that was masterfully integrated into the design. The straightforward and boxy Bronica EC-TL is not a thing of ravishing beauty like the Bronica DeLuxe, but it’s a beautifully balanced, well-proportioned, understated, and timeless design. The last of focal plane shutter Bronicas was the EC-TL-II with revised electronic circuitry, a screen with fewer readouts, and no manual metering modes. The EC-TL is a superior user camera and a clean, functional example with standard finder, 120/220 6x6cm film back, and 75mm f/2.8 Nikkor-P.C. lens currently runs about $500-$700.
Bronica EC-TL of 1975 added a built in TTL exposure meter with AE capability and LED readouts in the finder to the electronically timed EC--a brilliant move.
Mamiya M645 1000S: The original Mamiya M645 introduced in 1975. was the first in a series of 6 x 4.5cm-format SLRs incorporating an electronically controlled, moving coil, vertical trave, cloth l focal plane shutter, and interchangeable finders including a plain prism, CdS, and SPD meter prisms, and a waist-level/ sports finder. All models feature a removable wind knob with folding crank, an instant return mirror, a multi-exposure lever, and a focusing helical built into each bayonet mount lens. There’s no magazine type back—instead the camera used pre-loadable film inserts capable of 15 exposures per roll of 120 film, a less expensive solution than film magazines but not allowing mid-roll film changes. All models share the same lenses, inserts, screens, and grips, but not the viewfinders, which are incompatible with the later M645 Super, The M645 provides shutter speeds from 8 sec to 1/500 sec, and a red circle setting in between the B and 500 settings transfers shutter control to the shutter dial a mounted CdS or SPD metered prism finder, the frame counter is automatically set to 15 or 30 exposures depending on whether a 120 or 220 film insert is used. A 6v PX28 or equivalent battery powers the shutter and the attached PD meter prism. The M645 1000S released in 1976 adds a 1/1000s top speed, a self-timer, and a depth of field preview, and the film wind crank is now just a removable crank. In 1979, Mamiya introduced the M645J (for junior), an economy export model with a 1/500 sec top speed, no mirror lockup, and no upper shutter release button. All 3 M645s are handsome, beautifully proportioned, well-balanced cameras that are fun to shoot with and capable of impressive results. Mounting the fast 80mm f/1.9 Mamiya-Sekor lens makes them great for low light and street shooting. A huge range of Mamiya-Sekor lenses from a 24mm f/ 4 Fisheye to a 500mm f/5.6 refractive lens, a 50mm f/4 Shift, a 145mm f/4 Soft Focus, and a 70mm f/2.8 with leaf shutter are available. With an 80mm f/2.8 Mamiya-Sekor C lens and PD Prism Finder S, the M645 100S measures 3-29/32/x 4-29/32 x 6-9/16 inches (W x H X D) and weighs in at 3.8 pounds. A clean functional outfit with those specs currently fetches about $600; add $200 or so for the same with the 80mm f/1.9 lens.
The Whole Enchilada: Mamiya M645 1000S with SPD-cell PD meter prism, trigger grip, and 80mm f/1.9 Mamiya-Sekor C lens. It's a great low light combo.
Contax 645: The lone autofocus medium format SLR on our beautiful camera list, the legendary Contax 645 is not only drop dead gorgeous, but also a spectacular performer with an incredible feature set that’s equally at home in the studio and the field. Introduced by Kyocera under the Contax brand in 1999 at the cusp of the digital revolution, and discontinued in 2005, it went up against such worthy AF rivals as the Pentax 645N and the Mamiya M645 AF, but surpassed them both in visceral appeal, masterful mechanical and electronic integration, a superb full information viewfinder, intuitive ergonomic controls, and a superlative line of newly developed Carl Zeiss lenses. The camera has a vertical travel metal focal plane shutter with manual mechanical speeds of 8 sec to 1/4000 sec plus B, 32 sec to 1/4000 sec in Aperture Priority AE mode, 8 sec to 1/40000 sec plus B and X at 1/90 sec in Shutter Priority mode, direct X sync at up to 1/125 sec, an electronic self-timer, and an electromagnetic shutter release. Exposure modes include A, S, M (manual) and pre-flash TTL or manual flash. Meter patterns include TTL spot metering and center-weighted averaging with the appropriate prism finder. Film speed settings range from ISO 25-5000 in DX mode and ISO 6-6400 in manual mode. Other key features: Single or continuous motorized film advance up to 1.6 fps, single (S) or continuous (C) AF settings, a Contax 645 AF bayonet mount that accepts Zeiss lenses raging from a 35mm f/3.5 Distagon to a 210m f/4 Sonnar (including the spectacular 120mm f/4 Apo-Makro-Planar), second curtain flash sync, and TTL Direct Control flash. The camera is powered by one 2CR5 6v battery and the standard lens is an autofocus 6-element, 5-group 80mm f/2 Zeiss Planar. The Contax 645 measures 141 x 138 x 145.5mm (W x H x D) and weighs 1,370g with AE prism finder film back and 120/220 insert, but without battery. The 80mm f/2 lens measures 67 x 81mm and weights 480g. A pristine, fully functional Contax 645 with back, AE prism and 80mm f/2 Planar lens will set you back $5,000-$6,000 but it’s truly beautiful in both form and function.
The Ultimate Analog 2-1/4 SLR? Maybe! This gorgeous Contax 645 has everything including multi-mode AE and AF, motor wind, and an outstanding line Zeiss lenses such as the glorious 80mm f/2 Zeiss Planar shown here.
Top view of Contax 645 with 80mm f/2 Planar lens shows its svelte profile. Note comprehensive, easily accessed control array atop right-handed grip.
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9 hours ago
The Most Beautiful Cameras of All Time, Part 3
10 Gorgeous medium format roll film SLRs of the analog era
By Jason Schneider
With the eternal caveats that beauty is inherently subjective and that there’s no disputing taste, here are my fearless picks as the 10 most beautiful medium format SLRs that use good old-fashioned film as the capture medium. The fact that most of them happen to be very good cameras may or may not be coincidental, for as a wise philosopher once opined, “beauty is as beauty does.” Finally, before you let the brickbats fly, please remember that this is all done in fun and that your choices, though different, may well be as valid as mine.
Bronica Z and D: Named for company founder Zenzaburo Yashino, the Zenza Bronica Z of 1958 was an audacious and largely successful attempt to surpass the focal plane shutter Hasselblad. It pioneered several key technological advances in 2-1/4 SLRs, including an instant return mirror, an extensive line of internal auto diaphragm Nikkor lenses, and a vertical travel cloth focal plane shutter with a top speed of 1/1250. Ultra-close focusing is provided by mounting each lens head on a geared non-removable focusing tube that extends to a minimum focus distance of 18cm. It’s operated by an ingenious multi-functional control knob that provides focusing when in normal mode, and film advance and shutter cocking when the knob is pulled outwards. In 1960 Bronica introduced the slightly revised Bronica DeLuxe or D that has upgraded winding gear metallurgy and semi-auto-loading film magazines instead of fully automatic ones, both to enhance reliability. The Bronica Z and D, which look nearly identical, feature exquisitely crafted stainless-steel bodies and both are drop dead gorgeous clad in two-tone gray leather textured material—arguably the most beautiful 2-1/4 square SLRs ever made. Unfortunately, both the Bronica Z and D were delicate, plagued by reliability issues, and produced in small quantities, which is why they’re cult collectibles today. They did evolve into the more successful Bronica S, S2, and S2A. The Z is virtually unobtainable, and clean functional Bronica D with 75mm f/2.8 Nikkor-P normal lens will set you back $3,000-$4,000. Fair warning: Photographs alone cannot do justice to the amazing beauty of these cameras; they must be experienced in the metal.
Bronica D (DeLuxe) of 1960 is a dead ringer for the original Bronica Z of 1958. Both are drop dead gorgeous clad in 2-tone gray, but they had reliability issues.
Reflex-Korelle: One of the first 2-1/4 SLRs (it was preceded by the Eichapfel Noviflex by a few months) and the first truly successful one, the 2-1/4 square Reflex-Korelle was launched in 1935 by Franz Kochmann of Dresden, Germany and was developed through the ‘30s with successive models II, IIa, and III. All feature side-to-side film transport, cloth focal plane shutters, and interchangeable, helicoid focusing lenses, in screw mount except for the model III. All are handsome, beautifully proportioned cameras with combined film wind and shutter cocking and mirrors that return to viewing position when finger pressure on the shutter button is relaxed after the exposure. This cool feature doesn’t qualify as an instant return mirror. The standard lens is an 80mm f/2.8 Zeiss Tessar with a minimum focus distance of 3 feet and lenses by Zeiss, Schneider, Meyer, Cooke, and Dallmeyer were made in focal lengths from 75mm-360mm. Perhaps the best-looking model was the Reflex-Korelle III of 1939 with a chrome finished top plate, front plate and viewing hood, redesigned controls, bayonet mount, and shutter speeds from 2 sec to 1/1000 sec. An Electro-Korelle with an internal coupled light meter was planned but never produced. After WW II, Korelle was nationalized as VEB WEFO and produced the Meister-Korelle, sold in the U.S. as the Master Reflex. What’s more important, the Korelle’s basic design and configuration was carried forth in the Exakta 66, Praktisix, Pentacon 6, Norita 66, and the Ukrainian Kiev 60 and exerted a strong influence on the Pentax 6x7. A clean functional Reflex-Korelle (any model) with normal lens currently fetches about $200-$350.
Reflex-Korelle of 1935 featured a swing back, lateral film travel, and a focal plane shutter. In production for over 20 years its design was very influential.
Prettiest Reflex-Korelle? Many collectors say it's the Model III of 1939 which had a chrome front and top and a bayonet lens mount.
Hasselblad 503CW: The Hasselblad 500C introduced by Hasselblad in 1957, was the first of a long running line of V-series Hasselblad models (named in honor of Victor Hasselblad) that incorporated a Synchro-Compur 1-1/500 sec plus B leaf shutter in each lens (hence the name “500C”) instead of the corrugated metal in-body focal plane shutter used in the original Hasselblad 1600F of 1948 and the Hasselblad 1000F of 1953. The decision to create an entirely new camera based on the same iconic form factor and modular design overcame the unresolved reliability problems that plagued the focal plane shutter models and had the added advantage of providing full flash sync at all speeds, a feature valued by studio photographers. Another crucial factor ensuring the camera’s success is that Zeiss committed to producing a new range of outstanding lenses in Hasselblad bayonet mount, all with the then advanced feature of auto aperture stop-down. The 500C led to multiple iterations spanning more than 50 years, all with various modifications, However, all V-series Hasselblads are stunning, beautifully proportioned “form follows function” designs that are a pleasure to behold and to shoot with, and bear a striking family resemblance to one another. The 500C/M released in 1970 added interchangeable viewing screens and offered an accessory prism viewfinder with built-in meter. The 503CX of 1988 had built-in flash control (OTF metering) and introduced a brighter focusing screen. Then, after the 503CXi and 501C of 1994, came the 503CW that used a new larger mirror for improved finder coverage in the corners of the field and dispensed with the foam inserts used to position the finder screen that required periodic replacement to ensure focusing accuracy. All these successive improvements were included in the final Hasselblad 503CWD which was coupled with a digital back and released in 2006 as a Millennium edition to commemorate the 100[SUP]th[/SUP] Birthday of Victor Hasselblad. Our favorite, the Hasselblad 503CW, is currently listed for $3,000-$4,500 in pristine condition with A12 magazine, 80mmm f/2.8 Zeiss Planar lens and waist-level finder on the leading online auction sites.
Hasselblad 503CW of 1994 incorporated a longer mirror and other improvements but retained the timeless classic Hasselblad modular form factor.
Hasselblad 500CWD Millennium of 2006, shown with 80mm f/2.8 Planar lens, coupled with digital back. It celebrated the 100th birthday of Victor Hasselblad.
Norita 66: Norita Kogaku K.K. was founded in 1951 by Norita Toshio, who, along with lens designer Maruyama Shuji, had worked for the prestigious Tokyo Optical Co. Norita was a subcontractor for Musashino, supplying Rittron lenses for their Rittreck 6x6cm SLR, and at least a few of the Zenzanon lenses sold by Bronica. After Musashino went bankrupt in 1969. Norita took over the machine tools, enlisted some of Rittreck’s staff, and began producing the Norita 66, a modified, rebadged version of the Rittreck 6x6 that was released in 1972. The company distributed the camera in the U.S. under an arrangement with Graflex (a division of Singer), which marketed the camera as the Graflex Norita, and it was sold as the Warner 66 on export markets. The Norita 66 isa a compact 2-1/4 x2-1/4 square format SLR with a removable eye-level prism with center split image rangefinder and microprism collar, and lateral film transport via a top-mounted ratcheted wind lever. Aimed at photojournalists, industrial photographers, and serious enthusiasts, it features a horizontal cloth focal plane shutter with speeds of 1-1/500 sec plus B and X-sync at 1/40 sec, and an instant return mirror. The standard lens is a fast 80mm f/2 Noritar, the fastest medium format lens at the time and one of the camera’s chief attractions, plus a full range of breech-lock bayonet mount Noritar lenses ranging from an acclaimed ultra-wide-angle 40mm f/4 to a 400mm f/4.5. A 70mm f/3.5 Noritar leaf shutter lens provided full flash sync at all speeds up to 1/500 sec. Compatible with an accessory waist-level viewfinder and eyelevel CdS meter prism, the Norita 66 accepts 120 or 220 film, has a depth of field preview, and provides multi exposure capability. We’ve included it here because of its spare, purposeful, masterfully integrated design, especially when fitted with a plain prism finder. Its black enamel finish also showcases its beautifully balanced form factor and distinctive contours, giving it a unique and assertive “presence.” While the Norita 66 is an excellent user camera capable of impressive performance in the field the fact that it’s exotic and relatively scarce has increased the price for good used examples. A clean fully functional Norita 66 with plain or meter prism and 80mm f/2 Noritar lens currently fetches about $900-$1,100 on the online auction circuit.
Norita 66 of 1972 was prized for its outstanding 80mm f/2 Noritar lens, then the fastest on any 2-1/4 SLR. Well balanced, Its classic form factor is timeless.
Pentax 6x7 (Pentax 67 after 1990): Released in 1969 as the Pentax 6x7 (Honeywell Pentax 6x7 in the U.S.) the camera resembles a supersized 35mm SLR complete with interchangeable pentaprism viewfinder and top-mounted wind lever but it’s considerably larger and heavier, measuring 7.5 x 5.75 x 6.5 inches (W x H x D) and weighing in at a hefty 5.1 pounds with plain prism and 105mm f/2.4 SMC Takumar normal lens. It provides a 6 x 7 cm format on 120 or 200 film (actual 56 x 70mm), has a dual bayonet mount (inner for lenses 35mm to 300mm; outer for lenses from 400mm to 1000mm), an electromagnetically timed, spring driven cloth focal plane shutter with speeds of 1-1/1000 sec plus B, and X (at 1/30 sec) powered by a 6v silver oxide PX28 or equivalent battery, and a swing-back-and-up type instant return mirror. The most obvious differences from standard 35mm SLR practice is the location of the shutter speed dial atop the left-hand side of the body and the lens release on the left side of the mirror housing. The camera’s basic form factor and design were perhaps inspired by such European predecessors as the Praktisix and Pentacon Six, or even the VP Exakta of 1933, the first “horizontal concept” roll film SLR. Iterations of the Pentax 6 x7 include the original model of 1969, the addition of a mirror lock-up (MLU) in the second generation, the 3[SUP]rd[/SUP] generation Pentax 67 of 1990 with minor cosmetic changes, and the last of the breed, the recently discontinued Pentax 67II introduced in 1998. Its specifications are very similar to the previous models, the most notable upgrades being a built-in right hand grip, and a dedicated time mode switch (PS TIME) below the mirror up dial so long exposures don’t consume as much battery power. In addition, the PC terminal for FP (bulb) flash sync has been replaced with the Pentax speedlight 5P connector and an LCD was added to display a frame counter, ISO in use, film load status, battery status, shutter cocking, and flash status. Finally, a new self timer mode and multi-exposure mode are included, and the battery has been changed to a pair of CR123A lithium cells.
Pentax 6x7 of 1969 was high tech with an electronically timed shutter, instant return mirror and auto diaphragm lenses. Note non-standard soft release, lugs.
All Pentax 6x7 and Pentax 67 models are compatible with a succession of coupled TTL meter prisms, first with CdS cells, later with GPD cells, 90mm f/2.8 and 165mm f/4 leaf shutter lenses, waist-level finders, a host if system accessories, and one of the largest lens arrays of any medium format SLR, all excellent or better in performance. These beautiful black cameras look best with a plain prism and a short prime lens such as the standard 105mm f/2.4 SMC Takumar or Pentax (an outstanding optic by the way) which showcases their straightforward, perfectly proportioned, elegantly assertive, angular design. Expect to pay about $900-$1,300 for a Pentax 6x7 (any vintage) in excellent or better condition with plain or meter prism and 105mm f.2.4 SMC Takumar or SMC Pentax lens.
Rollefilex SL66: Introduced in 1966 as twin lens reflexes were on the decline, The SL66 was Rollei’s attempt to build a 6x6 cm SLR worthy of their proud heritage, and one that would surpass the Hasselblad in terms of features. The SL66 did both, by incorporating a bellows behind the front standard to allow ultra-close focusing without accessories, a vertical run, mechanical cloth focal plane shutter with speeds of 1-1/1000 sec plus B and T and X sync at 1/30 sec, an interchangeable folding waist level finder with interchangeable focusing screens, and a unique tilting lens board that swings upward or downward by 8 degrees to provide extended depth of field even at wide apertures based on the Scheimpflug principle. Most Rollei SL66 lenses except for very wide or long ones can be reverse mounted without adapters for use in close-up or macro photography. Detachable 120/220 film magazines in 6 x 4,5 cm and 6 x 6 cm format feature auto first frame positioning and frame counting, and body controls are similar to Rollei TLRs with a film advance knob with flip-out crank on the right and focusing knob in the left. Accessories include an optional (uncoupled) TTL meter prism and lenses from 30mm to 1000mm made by Carl Zeiss (West) Carl Zeiss Jena, Rollei HFT, Novoflex, and Rodenstock. Leaf shutter lenses include an 80mm f/4 Distagon and a 150mm f/4 Sonnar, and a 75mm f.4.5 PCS-Rolleigon shift lens was also available.
Rolleiflex SL66 has a formidable array of features including close focusing via a bellows and a tilting lens board for DOF control, but it was (and is) expensive!
The Rollei SL66 is larger and heavier than its archrival, the 500-series Hasselblad, measuring 156mm x 111mm mm x 172mm (W x H x D) and weighi9ng on at 1.9kg (4 pounds 3 ounces), and its special features, excellent build quality, and the robust overall specs came at a high price. The SL66 cost $1,300 when it debuted, compared to $750 for the closest comparable Hasselblad. Nevertheless, it was offered in various iterations for almost twenty years and was produced until 1992 with additional electronic improvements. The SL66 E (1982-1992) finished in black, provides open aperture metering with suitable lenses; the SL66 X (1986-1992) adds flash metering and employs the same black outer shell as the SL66 E; the SL66 SE was upgraded with spot metering and deleted the auto first frame positioning feeler mechanism in the magazines. Despite its longevity the Rolleiflex SL66 was produced in relatively modest quantities, and it holds its value remarkably well because it’s a prized user collectible that’s very versatile, and capable of topnotch performance. It’s also an exquisitely proportioned very esthetic design that’s distinctive, attractive, balanced and embodies a unique gravitas. These qualities do not come cheaply and a standard Rollei SL66 with 80mm f/2.8 Planar lens, standard magazine, and waist-level finder in pristine condition will lighten your wallet by about $1,700-$2,000.
Mamiya RZ67: A brilliant redesign of the very successful Mamiya RB67 first introduced in 1970, the RZ67, which debuted in 1982, is a modular 6x7 cm format SLR with interchangeable viewfinders, lenses, film backs, viewing screens, and winders. Like its predecessor, it excels in the studio but is also adept in the field. RZ lenses have built-in electronically timed Seiko #1 leaf shutters that are cocked and fired via the body, and, like the BB67, the RZ’s front standard rides on a robust dual rack-and-pinion mechanism, extending the large bellows for close focusing, and the revolving back feature has also been retained. The camera accepts a variety of back for 6x7cm, 6x6 cm, and 6x4.5 cm formats on 120 and 220 film and RB67 backs can be used via a G-Adapter. Model II backs include a second film counter for easy viewing in any position. The RZ67 is powered by a single PX-28 or equivalent 6v silver oxide or alkaline battery that provides electronically timed shutter speeds of 8 sec to 1/400 sec plus B and T and has an emergency 1/400 sec speed useable without battery power. Other features: Manual lever wind, mirror flip-up, multi-exposure capability, remote cable release, electronic shutter trigger socket, finder LEDs for flash ready low battery, dark slide and shutter status, and the ability to use RB67 lenses in RBL compatibility mode. The camera provides Aperture Priority AE when fitted with an accessory AE prism finder. The RZ67 Pro II released in 1993 includes upgraded electronics, an additional fine focusing knob on the right side of the focusing unit, and shutter speeds adjustable in 0.5 EV steps. The final model, the RZ67 Pro IID of 2004 has an integrated interface for communicating with digital backs and minor internal mechanical improvements. Like the RB 67 the RZ uses a custom breech lock bayonet mount that supports a staggering variety of Mamiya-Sekor lenses ranging from a 37mm f/4.5 Fisheye to a 500mm f/6 APO, including a 75mm f/4.5 Shift lens, two 140mm f/4.5 Macros, a 180mm f/4 Variable Soft Focus, and a 100-200mm f/5.2 zoom. The Mamiya RZ67 measures 114mm x 133.5mm x 211,5 mm ( W x H x D) and weighs in at 2.4kg (5.29 pounds) with standard waist-level finder and 110mm f/2.8 normal lens. Its body is lighter than the RB67’s due to the use of plastic outer body panels. For a camera of its complexity, size and features it’s very attractive, well proportioned, and nicely balanced—and more visually attractive piece than its predecessor. A Mamiya RZ 67 in pristine condition with 120/220 back, standard waist-level finder, and 110mm f/2.8 Mamiya-Sekor Z lens is currently priced at about $1,200-$1,600.
Mamiya RZ 67 of 1982 was an upgraded, lighter version of the RB67. This is the final iteration, the RZ67 Pro IID of 2004, that added a digital interface.
Bronica EC-TL: Released in 1972 the Bronica EC replaced the all mechanical S2A in the lineup, and was the first Bronica with an electronically timed, vertical travel cloth focal-plane shutter with speeds of 4 sec to 1/1000 sec plus B and X sync at 1/60 sec. Powered by a 6v PX28 or equivalent battery in the base, it also provides a mechanical speed of 1/40 sec operable without battery power. Other features built into the somewhat larger body include an ingenious instant return two-piece split mirror, part of which flips up and the other part down, to help minimize camera shake, an interchangeable finder with easily interchangeable screens, a mirror lock, a depth of field preview button, a combined film wind knob/crank, and interchangeable 12/24 exposure backs for 120/220 film that are incompatible with those of previous models. An interchangeable lens mount with large and small bayonets and a 57mm threaded mount accepts Bronica mount lenses from all previous focal plane shutter models. A bizarrely ugly but workable accessory TTL CdS meter prism was available for the EC. The Bronica EC-TL introduced in 1975 adds a built-in TTL exposure meter employing a single silicon cell behind the mirror for instant stop-down exposure measurements as well as aperture priority autoexposure at the “A” setting on the shutter speed dial. Thirteen shutter speeds and 2 exposure warning arrow LEDs are displayed along the top of the finder and ASA settings from 25-3200 and readings from EV 4-19 at ASA 100 are possible. The EC-TL was one of the first medium format SLRs to offer autoexposure capability a key feature that was masterfully integrated into the design. The straightforward and boxy Bronica EC-TL is not a thing of ravishing beauty like the Bronica DeLuxe, but it’s a beautifully balanced, well-proportioned, understated, and timeless design. The last of focal plane shutter Bronicas was the EC-TL-II with revised electronic circuitry, a screen with fewer readouts, and no manual metering modes. The EC-TL is a superior user camera and a clean, functional example with standard finder, 120/220 6x6cm film back, and 75mm f/2.8 Nikkor-P.C. lens currently runs about $500-$700.
Bronica EC-TL of 1975 added a built in TTL exposure meter with AE capability and LED readouts in the finder to the electronically timed EC--a brilliant move.
Mamiya M645 1000S: The original Mamiya M645 introduced in 1975. was the first in a series of 6 x 4.5cm-format SLRs incorporating an electronically controlled, moving coil, vertical trave, cloth l focal plane shutter, and interchangeable finders including a plain prism, CdS, and SPD meter prisms, and a waist-level/ sports finder. All models feature a removable wind knob with folding crank, an instant return mirror, a multi-exposure lever, and a focusing helical built into each bayonet mount lens. There’s no magazine type back—instead the camera used pre-loadable film inserts capable of 15 exposures per roll of 120 film, a less expensive solution than film magazines but not allowing mid-roll film changes. All models share the same lenses, inserts, screens, and grips, but not the viewfinders, which are incompatible with the later M645 Super, The M645 provides shutter speeds from 8 sec to 1/500 sec, and a red circle setting in between the B and 500 settings transfers shutter control to the shutter dial a mounted CdS or SPD metered prism finder, the frame counter is automatically set to 15 or 30 exposures depending on whether a 120 or 220 film insert is used. A 6v PX28 or equivalent battery powers the shutter and the attached PD meter prism. The M645 1000S released in 1976 adds a 1/1000s top speed, a self-timer, and a depth of field preview, and the film wind crank is now just a removable crank. In 1979, Mamiya introduced the M645J (for junior), an economy export model with a 1/500 sec top speed, no mirror lockup, and no upper shutter release button. All 3 M645s are handsome, beautifully proportioned, well-balanced cameras that are fun to shoot with and capable of impressive results. Mounting the fast 80mm f/1.9 Mamiya-Sekor lens makes them great for low light and street shooting. A huge range of Mamiya-Sekor lenses from a 24mm f/ 4 Fisheye to a 500mm f/5.6 refractive lens, a 50mm f/4 Shift, a 145mm f/4 Soft Focus, and a 70mm f/2.8 with leaf shutter are available. With an 80mm f/2.8 Mamiya-Sekor C lens and PD Prism Finder S, the M645 100S measures 3-29/32/x 4-29/32 x 6-9/16 inches (W x H X D) and weighs in at 3.8 pounds. A clean functional outfit with those specs currently fetches about $600; add $200 or so for the same with the 80mm f/1.9 lens.
The Whole Enchilada: Mamiya M645 1000S with SPD-cell PD meter prism, trigger grip, and 80mm f/1.9 Mamiya-Sekor C lens. It's a great low light combo.
Contax 645: The lone autofocus medium format SLR on our beautiful camera list, the legendary Contax 645 is not only drop dead gorgeous, but also a spectacular performer with an incredible feature set that’s equally at home in the studio and the field. Introduced by Kyocera under the Contax brand in 1999 at the cusp of the digital revolution, and discontinued in 2005, it went up against such worthy AF rivals as the Pentax 645N and the Mamiya M645 AF, but surpassed them both in visceral appeal, masterful mechanical and electronic integration, a superb full information viewfinder, intuitive ergonomic controls, and a superlative line of newly developed Carl Zeiss lenses. The camera has a vertical travel metal focal plane shutter with manual mechanical speeds of 8 sec to 1/4000 sec plus B, 32 sec to 1/4000 sec in Aperture Priority AE mode, 8 sec to 1/40000 sec plus B and X at 1/90 sec in Shutter Priority mode, direct X sync at up to 1/125 sec, an electronic self-timer, and an electromagnetic shutter release. Exposure modes include A, S, M (manual) and pre-flash TTL or manual flash. Meter patterns include TTL spot metering and center-weighted averaging with the appropriate prism finder. Film speed settings range from ISO 25-5000 in DX mode and ISO 6-6400 in manual mode. Other key features: Single or continuous motorized film advance up to 1.6 fps, single (S) or continuous (C) AF settings, a Contax 645 AF bayonet mount that accepts Zeiss lenses raging from a 35mm f/3.5 Distagon to a 210m f/4 Sonnar (including the spectacular 120mm f/4 Apo-Makro-Planar), second curtain flash sync, and TTL Direct Control flash. The camera is powered by one 2CR5 6v battery and the standard lens is an autofocus 6-element, 5-group 80mm f/2 Zeiss Planar. The Contax 645 measures 141 x 138 x 145.5mm (W x H x D) and weighs 1,370g with AE prism finder film back and 120/220 insert, but without battery. The 80mm f/2 lens measures 67 x 81mm and weights 480g. A pristine, fully functional Contax 645 with back, AE prism and 80mm f/2 Planar lens will set you back $5,000-$6,000 but it’s truly beautiful in both form and function.
The Ultimate Analog 2-1/4 SLR? Maybe! This gorgeous Contax 645 has everything including multi-mode AE and AF, motor wind, and an outstanding line Zeiss lenses such as the glorious 80mm f/2 Zeiss Planar shown here.
Top view of Contax 645 with 80mm f/2 Planar lens shows its svelte profile. Note comprehensive, easily accessed control array atop right-handed grip.
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