Mamiya 75mm Shift Lens Manual Focus
List of Mamiya products. Mamiya 645 manual focus series. The M645 (discontinued). Mamiya 75 mm f/3.5 S/L Shift; Mamiya 90 mm f/3.8.
RZ67 Pro I ready for shooting Overview Maker Type Lens Custom Mamiya mount Sensor/Medium ISO 25 to 6400 manual Focusing Focus Manual Exposure/Metering Manual, Aperture Priority with AE prism Flash, Shutter Manual lever winding, unmodified. Range 8 s to 1/400 s, Bulb, Time General Battery 4LR44 6 V battery or 4 1.5 volt batteries Japan The Mamiya RZ67 is a manufactured. There are three successive models: the RZ67 Professional (first model released in 1982), RZ67 Professional II (released in 1995) and RZ67 Professional IID (released in 2004).
MAMIYA MANUAL FOCUS; LENSES. Used Mamiya 645 50mm F4 Shift Lens, Good Condition. Used Mamiya 645 150mm F4 Prime Lens, Good Condition. Mamiya 75mm Shift Lens Manual Focus How do you use manual lenses on the Sony Alpha 7 series? Which are good lenses to start with? In this beginners guide for a7.
RZ67 is a modular camera system, meaning lenses, viewfinders, film winders and film backs are all interchangeable. It is primarily designed for studio use, but can also be used in the field.
The RZ67 Sekor lenses have built-in electronic leaf shutters which are cocked and triggered from the body. Focusing is performed with a bellows on the body instead of the lenses.
The camera accepts 6×7, 6×6 and 6×4.5, 120 and 220 film magazines and as well as Quadra 72 4×5 sheet film backs. Backs are also supported via the G-Adapter. The film speed is set on each RZ back via a dial.
There are two versions of the 6×7 and 6×4.5 backs; the model II versions have a second film counter to always show the film count on the top. The RZ67 operates on one 6 V, or 6 V. It can be used in emergency mode fully mechanically with a fixed 1/400 sec shutter speed. Multiple exposures are possible in the M-mode. Mirror flip up is supported.
The body has one standard flash hot shoe on its left side, one plug for a standard remote shutter cable release, and a socket for an electronic shutter trigger. The RZ67 measures 104 mm (W) × 133.5 mm (H) × 211.5 mm (L) with the 110mm f/2.8 lens, and weighs approximately 2.4 kg (5.29 lbs). The flange distance is 105 mm. The RZ67 name is adopted from the model name of the (in which RB stands for 'Revolving Back'), which was first introduced in 1970, thus the RZ67 also takes backs which can be rotated 90 degrees to provide a horizontal or vertical. The orientation is shown in the with black guides. The viewfinder also hosts LEDs informing of the state of the camera (flash ready, low battery, dark slide not removed, shutter not cocked). In addition to manual operation (photographer chooses and shutter speed), the RZ67 is able to operate in AEF mode with an AE viewfinder (AE being an abbreviation for automatic exposure), which transmits information directly to the body.
In RBL compatibility mode, the RZ67 is able to use RB67 lenses. The biggest difference between RB67 and RZ67 is that the RB67 is completely mechanical. The RZ67 has also mechanical couplings between the parts, but the shutter is electronic, and parts are able to transmit exposure information with electronic couplings. In addition, the RZ67 has plastic exterior body, which makes it somewhat lighter. Contents.
Microsim eval 8.0. On a conclusive note we can say that this software is a great platform for understanding the circuit theory.
Versions Original RZ67 Professional (RZ67 Pro I):. Electronic shutter 8 sec: 1⁄ 400 sec with full steps RZ67 Professional II (RZ67 Pro II):. Some improvements of the electronics.
An additional knob was added to the right side of the focusing unit for fine tuning of the focus. Shutter can be adjusted in 0.5 EV steps RZ67 Professional IID (RZ67 Pro IID):. Has an integrated interface for communicating with digital backs (the earlier versions need either an interface plate or external triggering wires). Minor internal mechanical improvements. RZ67 Pro II, not much exterior difference between the models Lenses There are a wide variety of lenses available for the RZ67:. Three: 50 mm f/4.5. Two versions exist, the non ULD and ULD L (contains floating element), 23 mm equivalent (refers to the equivalent 'angle of view' on a 35mm camera).
The ULD version is clearly marked.
I used the 75mm shift lens for a big project about four years ago and thought it served well, though movement-wise it's no substitute for a view camera (but then, nothing is, and an SLR can can do a lot that a view camera can't!). I suspect the 20mm figure is pretty close, and that's in any direction (not just 10+10); the lens rotates to 8 or 12 different positions so that you can, for example, shift up and to the left (as opposed to just straight up/down or to the left/right). Maybe slight darkening of corners with increased shift, but them's the laws of optics and it's not what I'd call vignetting unless you've got filters on. Quite convenient, though you have to stop down manually after focusing and before shooting (the aperture ring is on the filter-end of the lens). This takes a week or two to imprint on one's brain. Architectural use?
The problem is the focal length; at roughly a 37mm equivalent (in 35mm terms, I mean) the 75mm shift lens isn't wide enough for many architectural applications. Note that the Mamiya 6x7 shift lens is also 75mm, but costs a lot more and uses a much larger filter size than the Pentax (but I've never used the Mamiya). Overall quality, reliability, and optical quality of this lens were quite good, as I recall.
While Canon's three T/S lenses are the best such lineup in photography, they've always struck me as a little more fragile than the medium-format shift lens offerings from Pentax (6x7) and Mamiya (645 and 6x7), all of which feel a bit sturdier. There's no other practical option that works with the P67 body; you can, of course, buy various view-camera-type adaptors but these tend to be both more costly and more unwieldy than a view camera itself. MF shines when you like everything about a particular brand, but when you want something that that brand doesn't offer you're kind of stuck. Assuming that one wants to hang on to one's Pentax or Mamiya system, I think the best solutions for perspective control involve finding other MF options that have perspective control.
The Hassy ArcBody, the Horseman SW612, and the CamboWide with roll-film back all offer far more flexibility than any mere shift-lens-on-an-SLR can. Granted, the lenses and bodies aren't compatible with your Pentax or Mamiya, but at least you only have to carry one format of film (120)-and you may be able to leave your wider P and M lenses at home. Buy an old Bronica S2 Tilt Shift Bellows for $200 to $250 and on the camera end replace the mount with the P67 Mount and on the lens side replace the mount with a Mamiya RB Mount. Replace the bellows with a homemade bag bellows. The Mamiya RB mount has about a 3/4' longer film to lens distance so will allow infinity focusing with movements in most situations.
I'm thinking the Mamiya 50mm lens would be a good starter! I haven't done this yet, but will try in the next few months. I'll keep ya updated.
Rolland Elliot is known for doing some amazing and unusual things with lenses, so I hesitate to comment on his post. However I contemplated doing something similar with the Mamiya RZ 50mm lens. Never mind the problems with an electronic shutter, I found that the image circle when focussed at infinity was roughly 98mm in diameter. Since my 6x7 negatives were actually 57mm x 69mm, I calculated that the shift in both vertical and lateral direction would be only + and - 6mm, before vignetting and hardly worth the effort. I am still looking for a viable MF sift/tilt solution. It is worth noting that the Mamiya handbook claims a shift of 20mm (I assume +/- 10mm) and several old postings show that this is quite inadequate for achitectural purposes. Hi MF List Members, I just got to this list recently.
This is my first response. I am using the Pentax Shift for many years (over 10 in fact). If anybody ask me - This is my preferred lens for everything, except people.
It is a bit too slow for moving subjects. Landscape-I would not want to miss it. I shoot beach scenes - nothing better than with the shift! So I can control the foreground, as I need it. I agree, for very high buildings it is not that great because of the focal length. But you just move more back.
If you can't, switch lenses; the 45 and go in extremes. I do dupe most of my slides and I find this lens sharp enough even to blow it up a bit. Often I have to limit my lenses when I go on a long trip. If I choose to take my Pentax, then I choose the shift and the 165 LS or the 200. The LS is very sharp. It is a great lens and very useful, if you use fill in flash.
I also had the Mamiya 75 shift. I took it with me on a few trips, but then sold it, it is just too heavy and very slow, because the lens shutter has to be cocked separately. The lens is great, but only when you go to an assignment preferable in you car and then back. Not a lens, which you drag around the world like I did. Also the Filtersize of 105 mm bothers me a bit, because I can not find any filter for it. So I had to cut gelatin filters and stick it in. The Pentax takes 82 mm.
It shifts 20mm in all directions. It has 12 clicks. There is no vignetting of the lens, even if you but filters on. You see it getting dark when you shift because of the mirror. It has NO influence on the film at all- but on the lightmeter. Therefore you have to meter first and then shift. The use of the manual aperture you get used to very fast.
This is on the 67 manual camera. I do not know, how it performs on the 67 II. Because I want to trim down in weight, I bought a Mamiya 7. This camera is absolutely great, but I miss one thing: a shift lens. I use it virtually only with the 43mm and the 65 mm. I had to change my style of shooting with those lenses. But the 43 is out standing in performance such as sharpness.
A word of caution: any way of putting a makeshift solution to your camera, will lower the quality of your photos. There was a Japanese Company making a shift adapter for the Mamiya, using large format lenses. But the minimum possible focal length was 90 mm. So, I am better of with the 75 Pentax shift. And after all, I have done great cityscape shots with that lens. Buildings, Skylines etc. In order to photograph a building, you often you have 2 choices: either you can go further back, or you can go up somewhere or somehow.
Just have to search for it. Schneider makes - or used to make a 55 mm shift for the Rollei 6x6. I asked them, if they could adapt one to my Pentax. They replied, it would not be sharp enough on the edges. Because the lens is calculated for 6x6 Format only. But if you need a wider lens with shift; the Plaubel used to make one, Alpha makes one (very expensive) and as far as I know Horseman as well. The Horseman uses a Rodenstock (I think 35 mm) which would be about 15mm WA in 35mm Format but how many mm you can shift with it, I would not know.
Thanks for this lively little discussion; I found it quite helpful. Just got my 75mm Pentax shift lens today. Used, but you wouldn't think so. Mint condition. Shueido Camera (eBay) sold me this item for 900 USD (a bargain!).
Got it here from Taiwan in less than a week. (standing ovation!) Few people want large format these days-I use it for my own enjoyment.
For commercial shoots, shifts are invaluable-by far the most common difficulty in image management. Tilts are nice too, but this kind of work really calls for a view camera.
Canon Tilt Shift Lens Manual
If other visitors are curious, this is a phenomenal lens! The construction is outstanding. It's very easy to use if you read the manual, available as a free download at the Pentax web site. It's a 9-element design with outstanding optical quality-have yet to put images on film, but being an engineer and physicist with a background in optics, I can see how Pentax went to considerable toil in design and manufacture.
This lens is a real beauty! To echo a thought expressed above-where you don't have space to back up, haul out the 55mm or 45mm focal lengths. The 67II is designed to be used as a system, so one lens does not do everything. With a big 67 negative, there is generous room for cropping with the fixed focal lengths. The 75mm shift delivers a moderate angle, for images with a natural perspective-where wide angle effects don't take over the image. It's exactly what I want! Should I recommend all the 67 series wide angle lenses?
Manual Focus Lens Review
Wide angle lenses seem to be a weakness of my Canon 35mm equipment. Even the costly lenses have issues of distortion and aberrations, and construction of auto-focus lenses seems a little sucky to me. Greatly prefer using the Pentax for 90 percent of my wide angle subjects, or any subject that might be printed 8x10. Canon's 24mm TS-E is an exception to the rule.
This is a real good lens, with a few minor drawbacks. Small distortion at the edges is easy to get rid of if you crop the image-most clients wouldn't detect a problem.
Nikon Auto Focus Lens
28mm f/1.8 is also a superbly sharp lens, even at 1.8 The TS-E also incorporates tilts and rotation. It's the premiere wide angle lens for Canon users who are not fond of auto-focus.
A little heavy-but that's a good thing (sturdy construction!).