nation_of_pomation
Established
Hi all! Does anyone have experience with the fancier of the 3 normal lenses for the Press mount? They seem kind of rare, as I've only seen 2 for sale since I've been looking and buying bits and pieces of a Super 23. What's up with that? And are there different versions, like there are with some of the other lenses? My 100mm f3.5 is marked with an E and has a 55mm filter thread instead of the 40.5mm I see listed in scanned brochures for the 90mm and 100mm f3.5 lenses, so I thought I'd ask. Thanks!
sevo
Fokutorendaburando
I have it, and like it, but it is not up to the hype and currently demanded prices - it is different in details but overall I'd rate it about equal to the late generation Press 100/3.5 (which you seem to have), and certainly below both my Makina 67 Nikkor 80/2.8 and RZ67 110/2.8
besk
Well-known
The 100/2.8 lens has an excellent reputation (Planar design I believe) but requires the rangefinder on the camera to be accurately set up to be used at the max aperture.
Your E lens is the last of that line. IF the focus is stiff it should be serviced to avoid damage to the helical threads.
I have both lenses and like the latter best for all around use.
Your E lens is the last of that line. IF the focus is stiff it should be serviced to avoid damage to the helical threads.
I have both lenses and like the latter best for all around use.
kuzano
Veteran
I've owned two....
I've owned two....
Good lens, Planar design, overpriced.
My thoughts on overpriced is that a lens has to be much better, or give more than on stop difference, or give me other benefit to pay the extra this lens commands. I see them 3-4 times a year on eBay.
In lieu of that lens, If I am going to overpay, my lens of choice is the red dot 75mm Mamiya Sekor made for Polaroid and later mounted also in the Mamiya Press lens focus helical. That lens is a very good Biogon design. It has the advantage of covering the Polaroid 3X4 film pack.
I use it for 6X12 pano in a GG view format (custom camera). But it's an excellent WA lens as is on the Mamiya Press bodies.
I just sold the camera I was using it on, along with one of my 75mm lens. Making another camera a bit lighter.
Here is the camera I sold... uses a Linhof IV Ground Glass back.
I've owned two....
Good lens, Planar design, overpriced.
My thoughts on overpriced is that a lens has to be much better, or give more than on stop difference, or give me other benefit to pay the extra this lens commands. I see them 3-4 times a year on eBay.
In lieu of that lens, If I am going to overpay, my lens of choice is the red dot 75mm Mamiya Sekor made for Polaroid and later mounted also in the Mamiya Press lens focus helical. That lens is a very good Biogon design. It has the advantage of covering the Polaroid 3X4 film pack.
I use it for 6X12 pano in a GG view format (custom camera). But it's an excellent WA lens as is on the Mamiya Press bodies.
I just sold the camera I was using it on, along with one of my 75mm lens. Making another camera a bit lighter.
Here is the camera I sold... uses a Linhof IV Ground Glass back.
nation_of_pomation
Established
Are the press cameras no good, then? I keep seeing contradicting information about the lenses and it's making me wonder if buying one was the right choice.
ColSebastianMoran
( IRL Richard Karash )
Only you can judge. I'm very happy with the image quality of my 100 f/2.8.
I chose it as the most approachable and maintainable way to get to 6x9.
kuzano
Veteran
They are good camera's, but
They are good camera's, but
The down side of the Mamiya Press camera's for me was that they are too much like shooting large format. No real mechanical interlinks in the camera. Every function of the camera must be individually set or charged. Hence if I want to do that much work, I'll shoot large format.
Now, that's one of the both good and bad things... can't be shot fast, which means shoot slow and take time to set up the shot. Good, Bad, Good.
The glass... some of the best on the planet. Mamiya Sekor. In fact, the reputation of the 2.8 lens is a contradiction because the 100 3.5 is so good to start with.
I shot a Super 23 and a Universal for a long time, and loved them. However, I can't open the back up enough for 6x12.
If I do have another complaint, it is that the system itself is far too versatile. So many backs and lenses and other accessories. There is always another piece to buy. The S-curve the backs put in the film are said to be the reason that no other roll film holder can match or surpass the Mamiya backs for film flatness.
If you want to judge the system, that's up to you. However, outside the size and the work flow to get the shot set up, it's difficult to fault Mamiya Press cameras.
The other good news, is that outside a few pricey pieces, the system is, in fact a budget entry into very precise Medium Format, with a properly adjusted rangefinder.
The man I consider the Mamiya Press camera Guru is Anthony (Tony) Sansone. He can contacted through his family web site... Kreta Reserve Virgin Olive Oil. He lives in Florida, and the family Olive Oil business is on the Island of Crete.
They are good camera's, but
The down side of the Mamiya Press camera's for me was that they are too much like shooting large format. No real mechanical interlinks in the camera. Every function of the camera must be individually set or charged. Hence if I want to do that much work, I'll shoot large format.
Now, that's one of the both good and bad things... can't be shot fast, which means shoot slow and take time to set up the shot. Good, Bad, Good.
The glass... some of the best on the planet. Mamiya Sekor. In fact, the reputation of the 2.8 lens is a contradiction because the 100 3.5 is so good to start with.
I shot a Super 23 and a Universal for a long time, and loved them. However, I can't open the back up enough for 6x12.
If I do have another complaint, it is that the system itself is far too versatile. So many backs and lenses and other accessories. There is always another piece to buy. The S-curve the backs put in the film are said to be the reason that no other roll film holder can match or surpass the Mamiya backs for film flatness.
If you want to judge the system, that's up to you. However, outside the size and the work flow to get the shot set up, it's difficult to fault Mamiya Press cameras.
The other good news, is that outside a few pricey pieces, the system is, in fact a budget entry into very precise Medium Format, with a properly adjusted rangefinder.
The man I consider the Mamiya Press camera Guru is Anthony (Tony) Sansone. He can contacted through his family web site... Kreta Reserve Virgin Olive Oil. He lives in Florida, and the family Olive Oil business is on the Island of Crete.
nation_of_pomation
Established
I guess I'll find out when I get a roll through mine, then. I just didn't have much choice when it came to what I could afford that wasn't an SLR. It was the Mamiya Press or Koni Omega Press system, and I picked what people recommended to me.
kuzano
Veteran
You made the right choice....
You made the right choice....
I've used a couple of Koni Omega's, and you can't touch the Mamiya Press system with a Koni Omega, on a score of points. The best of which is the massive overkill of the Mamiya Press in the used market inventory.
The real killer for me on the KO system is the noise of the rapid advance film transport and the weak back. You absolutely cannot shoot a Koni Omega quietly.
With the Mamiya you have the incredibly reliable Seiko leaf shutter which is so quiet.
You made the right choice....
I've used a couple of Koni Omega's, and you can't touch the Mamiya Press system with a Koni Omega, on a score of points. The best of which is the massive overkill of the Mamiya Press in the used market inventory.
The real killer for me on the KO system is the noise of the rapid advance film transport and the weak back. You absolutely cannot shoot a Koni Omega quietly.
With the Mamiya you have the incredibly reliable Seiko leaf shutter which is so quiet.
rawhead
Established
I have the 100/2.8 and the 50/6.3 for my Universal. Love them both.
The 100/2.8 is one of few lenses that will cover 6x9 at that speed. I recently acquired a Schneider Xenotar 100/2.8 for my 2x3 Century Graphic, and am looking to get a Apo-Grandagon 35/4.5 for it as well. That Centruy setup will go head-to-head with the Universal setup, and so one of them might have to go after the tossup
The 100/2.8 is one of few lenses that will cover 6x9 at that speed. I recently acquired a Schneider Xenotar 100/2.8 for my 2x3 Century Graphic, and am looking to get a Apo-Grandagon 35/4.5 for it as well. That Centruy setup will go head-to-head with the Universal setup, and so one of them might have to go after the tossup
nation_of_pomation
Established
Right now, the only back for the Mamiya Super 23 that I have is the 6x7 back. I was under the impression 6x7 is perfect for printing on 8x10. What's the appeal of 6x9?
frperdurabo
Member
6x9 is the same proportion as 35mm/FF digital. Nowadays you can buy 8x11.5 and 13x19 printing paper, so the "ideal" format really isn't - unless you like the more square proportions.
The nice thing about the MP system is you can have both. Heck, with the right accessories you can also have 6x6 and 6x4.5.
ruilourosa
Member
Hello. I´ve been using the 100mm 2.8 for some time now... And i have to say that i´m very pleased. It´s very very sharp (although a tiny bit less than my 100 3,5 planar ) and it has a lowish contrast at 2.8!
i do not have the 100 3,5 but i have the 127mm and the tessar is very very good also but it´s a lot different at 5.6!
I have been using the 50mm, 75mm and 100mm of the MP with very very good results so much that i already bought a G adapter to use RB backs!
regarding 6x7 or 6x9... what is the point? well the point is a point of revolving around: and that is you, you like it or you don´t. Industrial standards should not dictate your images, although they always do: you are determined by your tech things...
) and it has a lowish contrast at 2.8! i do not have the 100 3,5 but i have the 127mm and the tessar is very very good also but it´s a lot different at 5.6!
I have been using the 50mm, 75mm and 100mm of the MP with very very good results so much that i already bought a G adapter to use RB backs!
regarding 6x7 or 6x9... what is the point? well the point is a point of revolving around: and that is you, you like it or you don´t. Industrial standards should not dictate your images, although they always do: you are determined by your tech things...