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Corran said:
The vertical dimension has nothing to do with the width of the frame on a Mamiya 6 (or 7), since the film is loaded left-to-right. On a Rolleicord or Hassie the film is loaded bottom-to-top, which then limits the frame width as you say.
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That’s right in the sense that, yes, a Mamiya 6 could produce a wider negative. But the M6 is a square format camera, hence the negative width is limited by the 56mm vertical. The alternative would be to make it a 6x7 camera. But then you would probably need slightly bigger, heavier lenses to prevent vignetting, and they wouldn’t collapse into the body...and oh, it’s a Mamiya 7 :)
 
FujiLove said:
No, the Mamiya 6 MF (the original M6 doesn't support the adapter) would produce a 24 x 56mm negative (1:2.33 ratio)

The Xpan negative is roughly 24 x 65mm (1:2.71 ratio)
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Late to this game... I thought the Xpan / TX-1 ratio was closer to 2.9. I crop to at least 2.66 (which is still very hard to control sans landscape) and it chops a decent bit off.
 
FujiLove said:
But the M6 is a square format camera, hence the negative width is limited by the 56mm vertical.
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I can only guess you are talking about "vertical" in the sense of a roll of 120 hanging to dry vertically.

When you shoot the M6, or M7, or any left-to-right loading camera, the image/film gate width is limited horizontally, based on the camera design, not the ~56mm vertical limit of a roll of 120. I would think most think of the "vertical" dimension as being up/down in relation to the actual image. A bottom-to-top loading camera like the Rolleiflex always appears to me to have sideways images.

A bit pedantic perhaps, but my point is that the width of the frame is not limited by the film, but by the camera.
 
The window of a liquor store in Freiburg.
Taken with my Hasselblad Xpan, 4/45 on Adox Scala 160.
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Sunflowers

Sunflowers

Sunflowers on a field.
Hasselblad XPan, 5,6/30 mm, Kodak Elitechrome 100. Scanned with the Minolta Elite 5400 II and stitched.
45162263011_94f3a8dcaf_b.jpg
 
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