These past few weeks have found me a little dissatisfied with the Nikons, and I'm looking to get into medium and/or large formats. My personal thoughts on the subject are running like this -- as I go up in format, I'd like to have progressively simpler cameras, mostly because my back is still relatively in good shape (and probably wouldn't survive a full-blown Hasselblad system that would compare in versatility to, say, a full-blown Nikon system), and because the larger the format, the more unwieldy the camera, and thus, the more time I'll have to spend with each exposure. In other words, it doesn't matter if I have exposure and focus automation with the larger formats -- the purposes that I'd probably be using them for would be for more deliberate pictures and/or when I want to use shifts, swings, and tilts. In general, it's a lot easier to find accessories and other useful/useless items for 35mm, so I guess that's going to end up being my "gadget" system.
I started off drooling over the Fuji rangefinders in medium format, and eventually found that slack-jawed gaze shifting to press cameras, mainly because (1) they're rugged (remember Tonka) and (2) they're absurdly cheap, with some fairly decent lenses and the benefits of a larger format. Well, most of them anyways. I haven't included any information on the high-zoot Linhof and Horseman cameras, mostly because the cheaper MF press cameras seem to do all right, and also because you'd be better off with a Speed Graphic (larger film, better lenses) or a Century Graphic (more movements, cheaper (about $200 nowadays)).
With that in mind, let's see what kind of a comparison we can set up between the three players in the cheap field: The Graflex XL (you can find a rah-rah article regarding the XL at graflex.org, or you can read a review posted to the Medium Format Digest), the Koni-Omegas (Rapid 100 and 200), (you can read a review, of sorts, by Shaun Kelly regarding his experience with using a Koni-Omega as a storm-chasing camera), and the Mamiya Press (Press 23, Super 23, and Universal) Cameras.
(Note: if you are using a table-ful browser and you'd like to see the following information thus formatted, I have a tabled version of the comparison below. Well, ok, it's the old table, but I've "downgraded" the formatting in this to be more compatible with the text-only browser that I usually use.)
(additional disclaimer: this table has been checked at least somewhat for
accuracy, but I cannot guarantee it, especially on the entries marked with
question marks; that aside, corrections and additions/suggestions are more
than welcome!)
As Gary Stuebben notes in
his review of the Graflex XL,
this is probably the nicest camera of the three -- on paper. With Zeiss
lenses and the most flexible choice of image sizes, you should be able to
make stunning pictures with this camera. Because it uses a Graflok back,
many different film holders (cut, roll, and Polaroid) are available.
Unfortunately, the rollfilm backs lack pressure plates, and so film flatness
is wretched with the early backs (it's much better with the later backs,
though). In addition, the focussing coupling is somewhat delicate and
wears out with time, so all the nice Zeiss images are being formed at some
distance from the wavy film plane. (Please note that despite the ranting
tone, I have nothing personal against Zeiss -- I just don't believe in buying
based on names).
Given that both of the other medium format press cameras
are cheaper, that the Mamiya offers most of the features and accessories
of the Graflex, and that the lenses are all of comparable quality between these
three cameras, Zeiss or no Zeiss, there are no compelling reasons to purchase
a Graflex XL.
This design for this camera dates back to the 50's, when it was "just" an
Omega, manufactured in the U.S. You occasionally see one of the originals
turn up, but they're collector's items, which is why I've concentrated more
on the Konica-sourced Koni/Rapids. For some reason, these remind me of
Duesenbergs and the Tucker -- fabulously quirky but with excellent performance.
For example, the sliding lever to wind the film and prime the shutter makes
this camera (in theory, at least) quicker to advance than the other two
compared here. When one accessory shoe is possibly adequate for 98% of all
photographic applications, why provide three? Maybe so you could put on an
accessory finder along with a flash, but since the Koni/Rapid came with its
own flash and bracket (giving it a right-handed grip), the other two shoes
seem to be extraneous, but nice to have in a pinch.
This is probably the fastest and most convenient of the three cameras. Konica
manufactured the lenses, which have been compared favorably to Hassy/Zeiss
lenses (in a very un-scientific manner -- comparing shots, but isn't that
what really matters?). However, lens and back selection are relatively small,
but as long as you can live with it, this is the cheapest way to get into
medium format (short of building your own pinhole camera). This camera was
purpose-built as an action camera, and you see the occasional one popping
up now and again at weddings.
Just in case you were interested, here's my
review
of the camera.
In my opinion, after reading the specifications, this is what the Graflex was
patterned after (or vice versa) but never caught up to. The Mamiya Press
has a large lens selection as well as many different backs and formats,
just like the Graflex. On the Super and Universal, there are some back
movements, so you can control focal plane to some degree (although if you're
planning on using it as a press camera, this is a feature of dubious utility
-- moving the back [with a ground glass on it], composing, and then swapping
to a film-back is likely to take too much time). Over the years, Mamiya
manufactured an impressive array of lenses and accessories, and some models
(need to check which, but definitely the Universal does) have the Graflok
back, so if you need the most flexible medium format press system, this is
the way to go. If you really need the movements, you should also look into
a Century Graphic, sort of a baby brother to the Speed/Crowns (personally,
the Graflex XL is more like a renegade cousin than direct heir to the Crown
-- sorry, couldn't resist the pun).
This is also the only medium format press camera with a rangefinder on the
right side of the top housing -- the other two have rangefinders on the left.
This may or may not be useful, depending on which eye is dominant. Winding
the film and cocking the shutter are accomplished by two different levers,
which may either excite (double-exposure fans) or dismay you. Note that in
the year since I wrote this, it seems as though Mamiya Press prices are
beginning to take off (I see typical examples around $400-500 nowadays).
Maybe you don't want any of these. I'd suggest looking into a Horseman or
Linhof field camera if you can afford them, or Fuji Rangefinder if you can't.
Actually, I'd suggest looking into a Fuji Rangefinder no matter what you do.
You have a choice of lenses and formats, although the lenses aren't
interchangeable (except with the very old
G690);
how about regarding each camera (with different lens/format)
as a Hasselblad back, instead? Seriously, if you're really itching to get
into a medium format rangefinder system with interchangeable lenses, you can
take the high road (Mamiya 6, 6MF, or 7; Fuji 680 or 617) or the low road
(Fuji fixed-lens RF's and G690, Press cameras).
Whatever you do, I hope that reading through this unadulterated mess hasn't
been too traumatic; it might even be somewhat informative, if you can sort
through it. If you can't,
send me email:
we'll chat. [Ed. note: down as of 12/1999]
My disclaimer: I have no personal experience with any of these cameras. I've
ordered a Rapid-Omega 200 and plan to write up my impressions of it as soon
as I can.
I am deeply indebted to the readers and contributors to the
Medium Format Digest,
graflex.org,
and the web pages of various vendors, as well as to several December 197x
issues of Modern Photography. I'd also like to thank Jim Richey,
who told me about the gg for the Konis.
Medium Format Press Cameras Comparison
8.8 x 5.3 x 5.7 in (225 x 133 x 144 mm);
4.81 lb (2.18 kgf) (Rapid 200)
7.8 x 6.9 x 5.4 in (198 x 175 x 137 mm);
3.97 lb (1.80 kgf) (Universal w/o pack-film
adapter)
Super Omegaron 90f3.5 (100 and 200)
67-16 Myrtle Ave.
Glendale, NY 11385
(718)628-6800
Specific Recommendations
Graflex XL
Koni/Rapid-Omega
Mamiya Press
Please supplement my banal comments with
comments of your own.
Take me back to Mike's home page