my new Super 23

sevo said:
...

It makes the camera lighter and more like a 35mm camera in operation, as it eliminates the need for the left hand release grip - the camera can be held at the film holder, and released/wound with the right hand index finger and thumb as usual.
Click to expand...

That is how I feel about mine now with the grip and 6x7 back. I think most people don't believe me when I say it is surprisingly 35mm like in use. But it really is, just bigger.
 
oftheherd said:
That is how I feel about mine now with the grip and 6x7 back. I think most people don't believe me when I say it is surprisingly 35mm like in use. But it really is, just bigger.
Click to expand...

And heavier!

For various reasons I chose to use the G-back system with Horseman film holders and Grafmatics. The side grip was removed and replaced with a close fitting, flat wooden grip mounted directly next to the body. Works pretty good.
 
FrankS said:
So any suggestions for Eddie and me to get lenses CLA'ed in/around Toronto?
Click to expand...

hi Frank

I emailed this guy and haven't heard back. Harry's pro shop uses him for Mamiya
Kevin W. Lee
LEE PHOTO TECHNIC
Ph: (416) 238-1148
lee_photo_technic@sympatico.ca

I also emailed Russ at Kominek who have moved to a warehouse space and no longer have a storefront. Don't know how good they are with mamiya but he is the guy who quoted me the price of 160-200 for complete CLA provided there are no surprises

Let me know if you find anyone else. So many of the good old small shops have closed in the last few years it's crazy. :(
 
The shutter release back is called Type III Mamiya film back.

The shutter release back is called Type III Mamiya film back.

I've had two of these over time, and have been unsuccessful both times exhaustively looking for the special cable release. It's very unique on the end that goes into the film back, being tapered with a collar that engages inside the back. The little lever next to the hole on the bottom moves a lever inside that engages the cable.

The current back I have needs a rebuild, with frame spacing being whacko all over the place. I sold my near mint Mamiya Universal system a few months ago.

I also have spoken a few times with the man who many consider the guru of Mamiya Press and Polaroid 600SE. His name is Tony Sansone, and while hard to find, he can be located by visiting the family Virgin Oil web site for Kreta Reserve Virgin olive oil. He has many new and refurb Mamiya Polaroid parts and does rebuild all these cameras/lenses/shutters.

http://members.cox.net/gmhsint/

I know he is active because he recently sold a new film back to the fellow who bought my Mamiya Universal. Prior to that, I purchased the format masks for the multiformat back that shoots 6X9, 6X6 and 6X4.5 from Tony (Anthony Sansone)

The type III back that is shown in the previous listing is attached to and should be removable from the Polaroid 600SE adaptor with the split claw feet. This back should fit all Mamiya Super 23, Mamiya Universal with no-split claw back adaptor and the adaptor that comes with it.

I would presume to be able to buy that combo and then sell the adaptor itself to a Polaroid owner for good money, recapturing a good portion of the successful bid.

The S curve on the Mamiya K-type and Type III backs is reputed to be the reason for a much better than average film flatness experience. I believe that from my usage over the years.

While the Super 23 offers some perspective control, I believe it only does so on the collapsible 100mm 3.5 lens. I do not think the 65 collapses into the Super 23 body to allow GG viewing With perspective control.

The 100mm lenses came both in the collapsible and non collapsible focusing helicoils. Having had Super 23's I have never seen another lens capable of using the GG perespective feature outside the normal focal length 100mm.

The Super 23 is a tank and a good system camera base. The Mamiya Universal has numerous additional accessoried and capabilities.

I conclude and say here that the Super 23 is a great camera for taking pictures, and the Mamiya Universal is superior if you want to spend your time hunting and paying relatively high prices for obscure accessories. Oh, yeah, it's also a great shooter.

Last point, the lens/shutter/helicoils were different, by contract, from Mamiya to Polaroid to prevent loss of lens sales to either company. A lens helicoil for Polaroid, and the film back adaptors will not fit on a Mamiya body ever, without modification or purchase of proper components.
 
Last edited:
The shutter release back is called Type III Mamiya film back.

The shutter release back is called Type III Mamiya film back.

I've had two of these over time, and have been unsuccessful both times exhaustively looking for the special cable release. It's very unique on the end that goes into the film back, being tapered with a collar that engages inside the back. The little lever next to the hole on the bottom moves a lever inside that engages the cable.

The current back I have needs a rebuild, with frame spacing being whacko all over the place. I sold my near mint Mamiya Universal system a few months ago.

I also have spoken a few times with the man who many consider the guru of Mamiya Press and Polaroid 600SE. His name is Tony Sansone, and while hard to find, he can be located by visiting the family Virgin Oil web site for Kreta Reserve Virgin olive oil. He has many new and refurb Mamiya Polaroid parts and does rebuild all these cameras/lenses/shutters.

http://members.cox.net/gmhsint/

I know he is active because he recently sold a new film back to the fellow who bought my Mamiya Universal. Prior to that, I purchased the format masks for the multiformat back that shoots 6X9, 6X6 and 6X4.5.

The type III back that is shown in the previous listing is attached to and should be removable from the Polaroid 600SE adaptor with the split claw feet. This back should fit all Mamiya Super 23, Mamiya Universal with no-split claw back adaptor and the adaptor that comes with it.

I would presume to be able to buy that combo and then sell the adaptor itself to a Polaroid owner for good money, recapturing a good portion of the successful bid.

The S curve on the Mamiya K-type and Type III backs is reputed to be the reason for a much better than average film flatness experience. I believe that from my usage over the years.

While the Super 23 offers some perspective control, I believe it only does so on the collapsible 100mm 3.5 lens. I do not think the 65 collapses into the Super 23 body to allow GG viewing With perspective control.

The 100mm lenses came both in the collapsible and non collapsible focusing helicoils. Having had Super 23's I have never seen another lens capable of using the GG perespective feature outside the normal focal length 100mm.

The Super 23 is a tank and a good system camera base. The Mamiya Universal has numerous additional accessoried and capabilities.

I conclude and say here that the Super 23 is a great camera for taking pictures, and the Mamiya Universal is superior if you want to spend your time hunting and paying relatively high prices for obscure accessories. Oh, yeah, it's also a great shooter.

Last point, the lens/shutter/helicoils were different, by contract, from Mamiya to Polaroid to prevent loss of lens sales to either company. A lens helicoil for Polaroid, and the film back adaptors will not fit on a Mamiya body ever, without modification or purchase of proper components.
 
But wait a bit, all lenses offer perspective control in macro photography? Or? It's just the 100/3.5 that allows it at infinity? I only have the 100/3.5 so I can't try it out, but just reasoning that should be true, no? Maybe useful for tabletop photography? Hmm.
 
kuzano said:
I've had two of these over time, and have been unsuccessful both times exhaustively looking for the special cable release. It's very unique on the end that goes into the film back, being tapered with a collar that engages inside the back. The little lever next to the hole on the bottom moves a lever inside that engages the cable.

The current back I have needs a rebuild, with frame spacing being whacko all over the place. I sold my near mint Mamiya Universal system a few months ago.

I also have spoken a few times with the man who many consider the guru of Mamiya Press and Polaroid 600SE. His name is Tony Sansone, and while hard to find, he can be located by visiting the family Virgin Oil web site for Kreta Reserve Virgin olive oil. He has many new and refurb Mamiya Polaroid parts and does rebuild all these cameras/lenses/shutters.

http://members.cox.net/gmhsint/

I know he is active because he recently sold a new film back to the fellow who bought my Mamiya Universal. Prior to that, I purchased the format masks for the multiformat back that shoots 6X9, 6X6 and 6X4.5.

The type III back that is shown in the previous listing is attached to and should be removable from the Polaroid 600SE adaptor with the split claw feet. This back should fit all Mamiya Super 23, Mamiya Universal with no-split claw back adaptor and the adaptor that comes with it.

I would presume to be able to buy that combo and then sell the adaptor itself to a Polaroid owner for good money, recapturing a good portion of the successful bid.

The S curve on the Mamiya K-type and Type III backs is reputed to be the reason for a much better than average film flatness experience. I believe that from my usage over the years.

While the Super 23 offers some perspective control, I believe it only does so on the collapsible 100mm 3.5 lens. I do not think the 65 collapses into the Super 23 body to allow GG viewing With perspective control.

The 100mm lenses came both in the collapsible and non collapsible focusing helicoils. Having had Super 23's I have never seen another lens capable of using the GG perespective feature outside the normal focal length 100mm.

The Super 23 is a tank and a good system camera base. The Mamiya Universal has numerous additional accessoried and capabilities.

I conclude and say here that the Super 23 is a great camera for taking pictures, and the Mamiya Universal is superior if you want to spend your time hunting and paying relatively high prices for obscure accessories. Oh, yeah, it's also a great shooter.

Last point, the lens/shutter/helicoils were different, by contract, from Mamiya to Polaroid to prevent loss of lens sales to either company. A lens helicoil for Polaroid, and the film back adaptors will not fit on a Mamiya body ever, without modification or purchase of proper components.
Click to expand...

the bidding has gone mad on the back missing the cable anyways. 3 hours to go and its at $405 which is more than the system and the CLA will have cost me by a good bit

I'll keep watching

thanks for the info, oh and i knew the 105 3.5 collapsible was the lens for best use with the bellows, it's also currently the only lens i have. i'm watching for the glass and a few cut film backs so i can utilize it (the cut backs seem rare)
 
Last edited:
olleorama said:
But wait a bit, all lenses offer perspective control in macro photography? Or? It's just the 100/3.5 that allows it at infinity? I only have the 100/3.5 so I can't try it out, but just reasoning that should be true, no? Maybe useful for tabletop photography? Hmm.
Click to expand...

The 100 f/3.5 collapsable lens offers perspective control when it is collapsed, from close up to infinity, according to the Mamiya Press 23 manual. Also, "Other lenses that do not retract can be used only for perspective control at near and medium distances. Wide angle lenses will give you perspective control only at close range."

Of further interest: "One of the most useful functions of the swinging back mount is the control it gives you over depth of field. Normally the plane of sharp focus is at right angles to the optical axis of the lens. However, if you swing or tilt the back mount, the plane of sharp focus will run at an oblique angle to the optical axis of the lens. The trick here is to remember that the closer the subject, the further the lens has to be from the film. To get maximum depth of field, swing the back away from the nearest part of the subject and toward the farthest part of the subject. That's all there is to it. This type of control works best with relatively flat subjects that are at an oblique angle to the optical axis of the lens."

You might want to look on the Butkis site for the manual. You also might want to look at any book on using 4x5 for use of back movements.
 
butkis has the manual in 3 parts, i grabbed it before the camera so i could at least assess it minimally myself before parting with the cash
this is one of the features that appealed for some architectural stuff and landscapes
not much of a macro guy but i could see me getting into it with this feature (though i'll need the film backs and glass first, then i'll have to tackle how to develop the cut film sheets since i'm only just back developing roll film after 35 years)
 
eddie1960 said:
butkis has the manual in 3 parts, i grabbed it before the camera so i could at least assess it minimally myself before parting with the cash
this is one of the features that appealed for some architectural stuff and landscapes
not much of a macro guy but i could see me getting into it with this feature (though i'll need the film backs and glass first, then i'll have to tackle how to develop the cut film sheets since i'm only just back developing roll film after 35 years)
Click to expand...

If you want to go macro, start watching for extention tubes. They should come five in a set.

The cut film holders are indeed rare, but they do show up. Keep looking and be patient.

Check your PM.
 
eddie1960 said:
the bidding has gone mad on the back missing the cable anyways. 3 hours to go and its at $405
Click to expand...

Yikes! Either two fools have entered a bid war or there is some massive shill bidding going on. That is more than I paid for a late Universal with rigid f/3.5 MC lens, three cables, Pola back and two type III backs - all in perfect shape, and not that long ago either...
 
oftheherd said:
The 100 f/3.5 collapsable lens offers perspective control when it is collapsed, from close up to infinity, according to the Mamiya Press 23 manual. Also, "Other lenses that do not retract can be used only for perspective control at near and medium distances. Wide angle lenses will give you perspective control only at close range."

Of further interest: "One of the most useful functions of the swinging back mount is the control it gives you over depth of field. Normally the plane of sharp focus is at right angles to the optical axis of the lens. However, if you swing or tilt the back mount, the plane of sharp focus will run at an oblique angle to the optical axis of the lens. The trick here is to remember that the closer the subject, the further the lens has to be from the film. To get maximum depth of field, swing the back away from the nearest part of the subject and toward the farthest part of the subject. That's all there is to it. This type of control works best with relatively flat subjects that are at an oblique angle to the optical axis of the lens."

You might want to look on the Butkis site for the manual. You also might want to look at any book on using 4x5 for use of back movements.
Click to expand...

Hello, I have a 4x5" monorail :) So no worry. I just wanted to say that you still can use the bellows with any lens, albeit not at infinity.
 
sevo said:
Yikes! Either two fools have entered a bid war or there is some massive shill bidding going on. That is more than I paid for a late Universal with rigid f/3.5 MC lens, three cables, Pola back and two type III backs - all in perfect shape, and not that long ago either...
Click to expand...

my feeling exactly. As i got into the super as a low cost alternative to chasing a mamiya 7 i will be ignoring anything so foolish
i would have looked at the 6 but there are a couple of parts that are unavailable and also seem to break down frequently from my searches, i figured if i have to salvage for parts i'd rather it be from a lower cost system;)
 
You must log in or register to reply here.
Back
Top Bottom