oftheherd
Veteran
Mamiya Super Press 23 and Mamiya Universal users unite!
How about Mamiya Universal and Super Press 23 users. Are you out there? Want to discuss (bragg about) the equipment you have? Ask about equipment you think you want? Share experiences?
Anybody considering a Mamiya Super Press 23 or Universal? Want to ask questions? Want to know if current owners are really happy with their older Mamiya rangefinders?
How about let's do it here and have our own thread?
How about Mamiya Universal and Super Press 23 users. Are you out there? Want to discuss (bragg about) the equipment you have? Ask about equipment you think you want? Share experiences?
Anybody considering a Mamiya Super Press 23 or Universal? Want to ask questions? Want to know if current owners are really happy with their older Mamiya rangefinders?
How about let's do it here and have our own thread?
R
Rich Silfver
Guest
Did you ever find another Mamiya Super Press/Universal user here?
T
Todd.Hanz
Guest
Oftheherd,
I have a Rapid omega 100 6x7, is the
Mamiya any smaller? I haven't used mine much, too big to lug around all day.
Todd
I have a Rapid omega 100 6x7, is the
Mamiya any smaller? I haven't used mine much, too big to lug around all day.
Todd
HelenB
Established
Over twenty years ago I spent more than I could really afford for a second-hand Super 23 outfit - the 50, 75 and 100/3.5 lenses and a few backs. The prints from the 6x9 negatives astonished me then and they continue to amaze me. I've since bought a Universal body, the ground glass back and the 150 and 100/2.8 lenses.
Only its bulk prevents me from travelling with it - but otherwise it is my favourite MF outfit. Most of the lenses are outstanding by any standards. If you don't mind the size and weight of it, the Press is exceptional. The 50 mm lens makes the Hasselblad SWC look like a Holga (well, not quite, but you get the idea).
Best,
Helen
Only its bulk prevents me from travelling with it - but otherwise it is my favourite MF outfit. Most of the lenses are outstanding by any standards. If you don't mind the size and weight of it, the Press is exceptional. The 50 mm lens makes the Hasselblad SWC look like a Holga (well, not quite, but you get the idea).
Best,
Helen
Now this can be my next real temptation. I have a want for some super huge negatives. Short of a LF camera I have thought of a Press or Universal as a great economical way of getting a 6x9 camera.
Oftheherd, what do I need to know? There seems to be lots of parts that can go wrong, light leaks and the such.
Oftheherd, what do I need to know? There seems to be lots of parts that can go wrong, light leaks and the such.
HelenB
Established
I didn't know that there was a lot to go wrong with the Press (by the way, 'Press' covers the 23, Super 23 and Universal). Mine has performed well for the twenty years that I've used it. You may wish to get the opinions of someone with more experience, of course.
Best,
Helen
Best,
Helen
jdos2
Well-known
Ofthe.
Today I drove to Gary, Indiana, to visit with my mom. It's been a bit since I've spent time out here.
The G2 is in the shop, so I brought the best camera I could, with the SECOND best lens I have for it- the Mamiya Universal with the 75mm f/5.6 and a Polaroid back (loaded with B&W, though I have two other packs of Fuji color to be loaded)
As a comment to "What Can Go Wrong," the system isn't complicated except by "discrete components." I have three backs, two bodies, and several lenses. The lenses have almost always needed shutter work (Tony Sansone was good, but was sometimes less than completely thorough). I bought two of the backs "as rebuilt" by Tony Sansone and have been trouble free, along with two of the Polaroid backs. The other equipment I've purchases from others (or MPEX) and have had to (rolling eyes here) send it off to the shop, including backs, SHUTTERS in the lenses, &c.
I'm also not afraid to take apart the rangefinder when I need to adjust it (rare, but it does happen).
It's simple. Pretend it's a professional system camera, maintain it as such, and you'll be rewarded with beautiful, huge negatives that have a wonderful sharpness and contrast. Most of the lenses for the camera system were simple Tessars or Topogons (65mm) but all are nice.
Today I drove to Gary, Indiana, to visit with my mom. It's been a bit since I've spent time out here.
The G2 is in the shop, so I brought the best camera I could, with the SECOND best lens I have for it- the Mamiya Universal with the 75mm f/5.6 and a Polaroid back (loaded with B&W, though I have two other packs of Fuji color to be loaded)
As a comment to "What Can Go Wrong," the system isn't complicated except by "discrete components." I have three backs, two bodies, and several lenses. The lenses have almost always needed shutter work (Tony Sansone was good, but was sometimes less than completely thorough). I bought two of the backs "as rebuilt" by Tony Sansone and have been trouble free, along with two of the Polaroid backs. The other equipment I've purchases from others (or MPEX) and have had to (rolling eyes here) send it off to the shop, including backs, SHUTTERS in the lenses, &c.
I'm also not afraid to take apart the rangefinder when I need to adjust it (rare, but it does happen).
It's simple. Pretend it's a professional system camera, maintain it as such, and you'll be rewarded with beautiful, huge negatives that have a wonderful sharpness and contrast. Most of the lenses for the camera system were simple Tessars or Topogons (65mm) but all are nice.