Welcome back to part three of this guide. We’ve already covered a deep overview of the Mamiya RZ67 Professional system as well as a look at the system’s film holder options. For part three, I’ll be covering the lenses. If you’ve read the previous two parts, you’ll know that I’m a huge fan of the […]
Welcome to part two of this short but exhaustive series of articles on the Mamiya RZ67 Professional camera system. In part one I gave you a deep overview of the RZ67 system; its history, breadth, basic steps to taking your first photograph, focusing and use cases. Part two dives deep into the RZ’s revolving back, […]
The Mamiya RZ67 is very interesting and in many ways, an unusual camera. It’s not very easy to operate and a little bit slow if you’re not used to it, so it’s maybe not a camera for everybody. It’s also huge and a bit heavy and was primarily created for studio work and landscapes for […]
Since the publication of my original book, “Nikon Film Cameras, Which one is right for you?”, I’ve acquired a number of additional cameras and lenses which I describe and evaluate from personal experience in the newly released second edition, which recently went live on Amazon. In addition to the extra hardware, I tracked the prices […]
Two years ago at a tram stop in Antwerp, I misstepped on the pavement’s edge and fell over. It was a bit embarrassing and it wasn’t helped by my own wife and daughter doubled up with laughter at my expense. “Why didn’t you put your hands out to break your fall?”, they asked. To them, […]
When I came back to film photography in early 2018, very soon I wanted to try medium format film. Not being sure if I would like it with its lesser number of photos per roll compared to a 35mm film…
When it comes to autofocusing manual lenses on film cameras there is really only one option: the unique and relatively short-lived CONTAX AX. Chunky sibling of the CONTAX RX and…
I was recently tempted to get into medium format more seriously and began around looking for the camera that would allow me to do so.
The Pentacon Six TL is a phenomenon of a camera.
The F2 was Nikon’s mechanical, manual flagship camera of the 1970s.
In 1975, Mamiya introduced their M645 series of medium format cameras. The M645 series have been very successful over the years, continually being upgraded and refined.
The cost of manual-focus 35mm equipment increases to rise and Nikon gear is leading the pack.
It was always going to come to this point. With compact cameras that sport prime lenses, even though the image quality is as it should be, the photographer is limited to a single set focal length.
I remember the Nikon F3 being expensive when it first came out in 1980. At the time, a new Nikon F3 with a 50mm lens cost about US$1,175 – that’s about US$3,500 adjusted for inflation.
In 1984 I had just entered my 20s and my pockets were not very deep. Up to that point I had been using a Rolleiflex SL35M, my second SLR, but it had stopped working.
Over the past few months, I’ve been trying to settle on “the one.” The one 35mm film camera that will serve all my photography needs.
The Hasselblad 2000FCW was the third in the legendary Swedish company’s family of 6×6 focal plane shutter cameras. If you want to be able to use all Hasselblad lenses (including 13 lenses that can only be used with this
2002 was a funny time for film cameras.
It’s a beast, this Pentax. It weighs a ton and it’s hard to hang on to. It’s slow, has a terrible synch speed and everything is in full stops.
I have had a Pentax 645 for few months and have really enjoyed using it, so this is an attempt to put some thoughts together on it.