A portable, fast, and preferably quiet MF camera?
- Thread starter rhechcapel
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35photo
Well-known
Yes save the money, Mamiya 6 ALL DAY!!
Ambro51
Collector/Photographer
The Diana.
Gerry M
Gerry
ranger9
Well-known
If you don't mind a slightly old-fashioned range/viewfinder (no projected frames, fuzzy-edged rangefinder patch) you might like the older Mamiya Six. Unlike the later, confusingly named Mamiya 6, the '40s-'60s version has a fixed lens but is fully folding — it collapses down to the size of a sandwich and fits easily into a briefcase or coat pocket. Look for the Automat model, which cocks the shutter automatically when you advance the film (which many folders don't.) I have the second-to-last model, which has an excellent 75mm f/3.5 Olympus Zuiko lens; the final model has a slightly larger finder eyepiece and reflected viewfinder frames (nice) and a Mamiya-sourced Sekor lens (I don't think this is quite as good as the Zuiko but lots of people disagree.) One of the biggest usability hangups with these (and most other 1950s-era folders) is that the f/stop and shutter speed controls are very crowded together, so they're not the easiest to use in dim light or fast-changing situations, but for a carry-around medium format camera they stack up well otherwise. I scored mine for fifty bucks at a used-camera show because the leatherette was peeling off (common problem) but the ones I see on eBay are usually in the low three digits.
D
Deleted member 65559
Guest
RH, The new Mamiya 6 is fabulous.You checked off all the boxes. Much more portable than the 7 because of the collapsible lensmount. It handles much better (weight & balance) than the Plaubel Makina 670. That said, I like the additional real estate of the 6x7neg. Collapsed, the PB wins hands down for taking up little space. I have a soft spot for the Mamiya 6 though. (& the lenses are stellar, both the 50 & 75!)
ranger9
Well-known
Mamiya Six video: https://youtu.be/1O9MyDdZQ5Y
maigo
Well-known
I find that the AF mechanism in mine is quieter if the camera is used upside down.
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tunalegs
Pretended Artist
Braun Paxina, many came with an f/2.9 lens, and they're easily found for cheap. Only downside is I think they all use a red window system, there's no automatic-stop or automatic shutter cocking. Fast lens, slow camera.
aizan
Veteran
benlees
Well-known
Small, inexpensive, quiet, and amazing quality? TLR is the way to go. I love the Fuji MF cameras but they are not quiet...
D
Deleted member 65559
Guest
....they're not small either.... except the GF 670....which unfortunately has some issues & is now essentially non-repairable
& as the OP was stipulating for indoor use, the TLRs aren't quite as easy to focus in low light even with a Maxwell screen (compared to the RFs)
f.hayek
Well-known
What are the issues?
D
Deleted member 65559
Guest
rangefinder alignment. A colleague has had his back to Fuji in the USA twice without having it properly fixed. & the dialogue here:
https://www.rangefinderforum.com/forums/archive/index.php/t-105299.html
Huss
Veteran
Don't forget many of them have battery drain issues.
rhechcapel
Member
Wow, thanks for all the suggestions folks!
I'll research all the options mentioned here.
I particularly like the suggestion to look at 35mm for indoor work... I have an M4-P and the Canon 50/1.4 LTM - a killer combination for virtually silent low light situations. I have to admit this search is just pure GAS.
I'll research all the options mentioned here.
I particularly like the suggestion to look at 35mm for indoor work... I have an M4-P and the Canon 50/1.4 LTM - a killer combination for virtually silent low light situations. I have to admit this search is just pure GAS.
TenEleven
Well-known
As a Rolleiflex user I found the Mamiya 6 75/3.5 lens to be wholly unimpressive. Yes it's sorta sharp but it also has a very flat almost dead rendering that, I guess, lends itself well to the deadpan landscapes that people shoot a lot these days. Oddly enough the Mamiya 7 80/4 and 65/4 lenses are amazing.
By the ways of suggestion, if you're willing to wait a bit for a clean example and are able to deal with the odd haptics, you could get a Super Balax with the 80/2.8 Ennit lens. The viewfinder and rangefinder patch are very very bright and clear. Best in class. The camera is tiny (smaller than even the already svelte Pearl IV) and weighs a tiny 560grams.
Some technical discussion of it in Japanese (use Google translate):
https://nikomat.org/priv/camera/baldax/index.html
Here's some photos from that:
https://www.flickr.com/photos/tags/Super Baldax/
By the ways of suggestion, if you're willing to wait a bit for a clean example and are able to deal with the odd haptics, you could get a Super Balax with the 80/2.8 Ennit lens. The viewfinder and rangefinder patch are very very bright and clear. Best in class. The camera is tiny (smaller than even the already svelte Pearl IV) and weighs a tiny 560grams.
Some technical discussion of it in Japanese (use Google translate):
https://nikomat.org/priv/camera/baldax/index.html
Here's some photos from that:
https://www.flickr.com/photos/tags/Super Baldax/
That's because many bloggers and collective group-think response to inter web hype persuades the easily-influenced that they *must* have a 2.8 or 3.5 F series, and nothing else will do.
The F series are terrific cameras—I have a 3.5F myself, now, I love it, but the price was very right—however, when you pause to consider what you're gaining compared to an earlier model, it's little more than the ability to shoot 220 (in some cases), a coupled meter (in most cases, assuming it still works), and the option to fit a film gate plate (in some cases). They'll take a pentaprism, too, but it's worth pointing out that E series after the E1, and the T may also be fitted with one.
220 is virtually extinct as a format; coupled meters are useful sometimes but never as versatile as a good hand held light meter; and (assuming the particular example is equipped for it) attaching the film gate glass dictates having the glass, and the compatible camera back with which to use it. These attributes may warrant the price premium over earlier models for a few owners but in actual use a C, D or E series 2.8 will do just as good a job for a lot less dough.
If separate film wind and shutter cocking don't bother you, a Rolleicord V, Va or Vb are that much cheaper again (slightly less so for the Vb) with wonderful f/3.5 Schneider Xenar 75mm lenses. And lighter. The Vb will even take the pentaprism, if it's important for you. My personal favourite of the Rolleicords is the V. With focus and wind both on the right side there seems to be less tossing the camera from palm to palm, than is the case with left side focus models. And the EV coupling was the best Rollei ever implemented. It's there if you want it, but, just a little extra pressure on the levers gently de-couples shutter and aperture for individual adjustment. It's virtually seamless. In that respect the Va and Vb EV coupling, which is far less yielding without first pushing the levers inwards, was a retrograde change.
I have a Mamiya Six on my work bench at the moment. It's film gate focusing is an interesting means of making a coupled rangefinder incorporate a unit focusing lens. But this one wasn't working well on arrival and was focusing quite unevenly and unhappily. It seems not much more than cleaning, polishing and lubrication of its rudimentary eccentric focus system should see it right again, but these are quite old cameras now, and its bellows have a couple of pinholes, so be aware an example may require some remedial attention to be fit for use. More details about what goes wrong and how to fix it are detailed here.
Last edited:
Richard G
Veteran
Here's good advice from an expert. I bought an Automat from around 1951 in the classifieds here on RFF, with that Xenar 75. Very light. Ridiculously so. The camera is mostly air. And silent. I haven't really mastered the TLR including holding it still but it is a wonderful machine. So well thought out.
DownUnder
Vamoosed (for a while)
Consider a Rollei TLR. You will either bond with it, and if so then you will never, ever look back on any other camera in the MF range. If you don't like it for any reason, sell it, and get all or most of your investment back.
Any Rolleiflex or Rolleicord wins first prize hands down for the most quiet camera. Also not electronic in any way, which may lessen their attraction somewhat for you, but means far greater reliability.
A 'flex or 'cord, an exposure meter, a lens hood, a few filters/close-up lenses, and of course film in a small bag won't break your back even on long hikes.
Some (the Rolleicord Vb and the Rolleiflex T) adapt to 16 on 120. Most Rolleis will take an accessory 35mm kit or (for the older models) a separate back.
Very few downsides. Some will dislike the ergonomics - I happen to love handling the camera. The lack of an in-built exposure meter (some Rolleis have them, but they can be wildly inaccurate) and the relatively high cost for a reliable late model. Also, for many, the dreaded Rollei addiction - I have four (a 3.5E2, two Ts and a Vb) and a big box of accessories, none of which were acquired for small change, it's all made in Germany so top quality, but costly.
On the plus side, Rolleis are eminently reliable, very little ever wears out or breaks down on them and if/when something does, it can be repaired. Mine will probably outlast me.
As with any old(er) gear, you should look to buy a recent (1960s) model from a reliable dealer, which may be more expensive but you'll get a far better camera. Avoid home-tinkered-with Rolleis, they are complex machines and amateur repairers can do more damage than good. Also budget for an eventual CLA.
A Rollei of whatever vintage if it works well, is a lifelong camera, for as long as 120 film continues to be manufactured.
Any Rolleiflex or Rolleicord wins first prize hands down for the most quiet camera. Also not electronic in any way, which may lessen their attraction somewhat for you, but means far greater reliability.
A 'flex or 'cord, an exposure meter, a lens hood, a few filters/close-up lenses, and of course film in a small bag won't break your back even on long hikes.
Some (the Rolleicord Vb and the Rolleiflex T) adapt to 16 on 120. Most Rolleis will take an accessory 35mm kit or (for the older models) a separate back.
Very few downsides. Some will dislike the ergonomics - I happen to love handling the camera. The lack of an in-built exposure meter (some Rolleis have them, but they can be wildly inaccurate) and the relatively high cost for a reliable late model. Also, for many, the dreaded Rollei addiction - I have four (a 3.5E2, two Ts and a Vb) and a big box of accessories, none of which were acquired for small change, it's all made in Germany so top quality, but costly.
On the plus side, Rolleis are eminently reliable, very little ever wears out or breaks down on them and if/when something does, it can be repaired. Mine will probably outlast me.
As with any old(er) gear, you should look to buy a recent (1960s) model from a reliable dealer, which may be more expensive but you'll get a far better camera. Avoid home-tinkered-with Rolleis, they are complex machines and amateur repairers can do more damage than good. Also budget for an eventual CLA.
A Rollei of whatever vintage if it works well, is a lifelong camera, for as long as 120 film continues to be manufactured.
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