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Mamiya 6 Mamiya 6 6×6 cm Rangefinder (1989-1999) Mamiya 6 and. This free website's biggest source of is when you use that or any of when you get anything, regardless of the country in which you live. January 2016 Introduction The Mamiya 6 system, introduced in May 1989, is a 6×6 cm (2¼' square) rangefinder camera taking 120 and 220 film with three interchangeable lenses of 50mm, 75mm and 150mm. The Mamiya 6 does the same thing as a with 50, 80 and 150 lenses, just that this Mamiya weighs much less, is much easier and faster to use and makes sharper images due to the silent and vibration free electronic leaf shutters and rangefinder-design lenses.
220 and 120 film are selected just by rotating the pressure plate; the Hasselblad requires separate backs! This rangefinder design is what makes the lenses better than the Zeiss SLR lenses exactly in the same way the can outdo SLR lenses, especially for wide angles.
Although the Mamiya 6 is my favorite camera, the advantage of the is that its system includes wider lenses. I always seem to grab the and its lens instead. Mamiya 6 and. Versions and History. There are at least three versions of the Mamiya 6: 1940-1960: Mamiya 6 The first Mamiya 6 was a folding, fixed lens, mechanical camera with no meter. It focused by moving the film plane instead of the lens. I am not discussing these cameras here.
1989-1993: New Mamiya 6 The New Mamiya 6, discussed here, came out in 1989. Except for the film format and name, it has nothing in common with the original Mamiya 6.
It is called New Mamiya 6 among camera historians to differentiate it from the mechanical camera above, otherwise, everyone including myself simply call this the Mamiya 6. This is my favorite version, and actually, my favorite camera of all time. 1993-1995: Mamiya 6MF To try to pump up sales by adding worthless features to an otherwise perfect camera, Mamiya released the Mamiya 6MF. The Mamiya 6MF, or Multi Format, had some idiotic multi format adapters available. One of these adapters masked 6 x 6 film down to 6 x 4.5, making the top and bottom edges of the frame black, and still giving you the same 12 or 24 exposures. The other stupid adapter allowed you to use 35mm film for making 24mm x 56mm panoramic shots.
This is a dumb idea because the wider 35mm film costs as much per shot as the 120 or 220 film does, and limits your entire roll to that stupid format. Smart people just shoot the full 6x6 aperture and crop later. If you want 6 x 4.5 or 24mm x 56mm shots instead, then just crop from the 6x6 image. The film costs are the same, however if you are silly enough to use one of those cockamamie adapters you have locked yourself into that format for the whole roll. Also with the 6 x 4.5 adapter you now need to rotate the camera for vertical shots! With the 6x6 format, you can crop either way for free! The reason the 6MF (Majorly Foolish) version is so hated today is because its finder is indelibly littered with the distracting blips trying to cover all the different 'formats' at the same time, regardless of which you are shooting.
Apocrypha suggest an even newer version of the Mamiya 6 had the same bad spotmeter as the, but I have never seen one. I hate the spot meter of the Mamiya 7, compared to the averaging meter of the Mamiya 6.
Overall Performance The Mamiya 6 is the world's most perfect camera system. The Mamiya 6 camera is better than the newer system in terms of convenience, which is the whole point of these cameras. See the comparison between the Mamiya 6 and current Mamiya 7. Since there is no lens wider than the 50mm for the Mamiya 6, I use the Mamiya 7 with its larger film and much wider 43mm lens. All three lenses collapse about 1.5' into the camera body, making a very compact camera. Heck, it weighs less and gets smaller than my Nikon.
The Mamiya 7 cannot do this, and this is very, very important to me. This makes my medium format Mamiya more compact to carry than any of my Nikon SLRs. All lenses' fields of view are automatically selected through the Mamiya 6's viewfinder. This is unlike the Mamiya 7, which requires a stupid external finder for use with its two widest lenses.
Mamiya 6 and 50mm lens collapsed (left) and extended (right). Finder The finder and magnification are fixed. What changes with different lenses is that different frame lines show.
At 50mm, the frame is almost the entire finder. At 150mm, only a square in the middle of the finder is what you get on film. Top, Mamiya 6, collapsed 50mm lens and reversed hood. Lenses All three lenses are spectacular. The 50mm lens is one of the most perfect lenses I have ever used. It tests much better than the Zeiss Distagon for the Rolleiflex and the same as the Zeiss lens on the Hasselblad. See for details.
Need I say more? The fact that these are rangefinder lenses and can be designed without having to work around the rear lens extension interfering with an SLR mirror allows the Mamiya 6's lenses to outdo the SLR systems. Don't get all serious about this, the Zeiss lenses are also excellent and any differences between these are invisible except in a laboratory.
All three lenses have their own electronic leaf shutters providing speeds from 4 seconds to 1/500 and Bulb. Manual shutter control is at full stops while automatic control is stepless. Apertures of course may be set anywhere and the meter reads this, too. Electronic shutter control gives perfect accuracy at slower speeds and is limited only by shutter efficiency issues at the very top speeds. The shutters never require calibration. They are far more accurate than any mechanical shutter as on most Leica, Hasselblad and large format cameras.
Flash sync on all lenses is at all speeds including 1/500, which is twice the speed of any Canon, Nikon or Leica. Infinite Depth-of-Field Trick You can make use of my to figure out what aperture to use to get the best sharpness anytime where you need depth of field and have a tripod so motion is not an issue. This has nothing to do with hyperfocal distances or circles of confusion or depth of field; it's a completely different sort of math solving for optimum sharpness also considering diffraction. Blindly setting f/22 can lose sharpness due to diffraction. You can read the mathematics, but otherwise just use the aperture indicated by this table.
Hasselblad Lens Shutter Repair Manual
F/11 1/2 Detailed instructions: 1.) Focus on the closest thing you need sharp. Note the distance on the focus scale. 2.) Focus on the farthest thing you need sharp. Also note the distance on the focus scale.
3.) Set the focus ring to midway between these two points and leave it there for the photo. 4.) Presuming you really have the ring set midway between those two points both the far and near readings will be next to the same aperture indication on opposite sides of the depth-of-field scale.
Read this aperture. 5.) Find that aperture on the left of the chart above and set the lens to the corresponding aperture on the right side of the chart.
Example: With the 50mm lens let's say you want everything from 10 feet to 20 feet as sharp as you can get. You'll set the lens to 14 feet, read f/4 from the lens depth-of-field scale, and set the lens to f/11 1/2. This will be far sharper than using the f/4 the camera scale suggests, since that scale is based on a just barely acceptable fuzziness for handheld shots, and f/11 1/2 will also be sharper then just defaulting to f/22 since it has less diffraction than f/22. The math is if you care.
The calculations behind this very simple procedure are very complex and add diffraction Airy disc effects to the traditional depth of field and blur circle calculations. Filter Tricks I've found an important side benefit to carrying and using only 67mm filters and a step-up ring to cover both the 58mm and 67mm filter sizes in the Mamiya 6 system. One may stack more 67mm filters on the 58mm threaded lenses without vignetting than if one used 58mm filters. This is important since it both saves carrying an extra dozen filters in a second size, and several filters can be stacked to create effects without vignetting. For instance, an 85C, an FLD and a grad ND will turn a blah sunset into an epic one. I have found that using 67mm filters I can use 2 or 3 on the Mamiya 6 50mm, and 5 (yeah, five) on the Mamiya 6 75mm lens with no vignetting. See more about how to use filters like graduated ND and polarizers on the filter page.
L ight Meter The light meter is an averaging meter that reads the light coming through most of the viewfinder's area. That means that you have a mild center weighting with the wide lens, no weighting with the normal lens, and read outside the field of view with the telephoto lens.
This can be adjusted a little bit by the factory with baffles inside the viewfinder and metering system. I wish it was a little more center weighted.
See tips below. The Mamiya 6's averaging meter is completely different from the Mamiya 7's spot meter. Mamiya's literature and Mamiya USA's salespeople who read this literature are mistaken here. Go try for yourself as I do and see.
It is extremely sensitive and accurate and can be tricked into making accurate measurements into the minute range. See the tips in the next section. Mamiya makes me laugh. They list different relative angles of view for different lenses.
This is because the metering area remains the same but the lens' angle of view is changing! I only use the meter in AEL or A mode, in which case it is effectively stepless. The built-in meter is sort of useless in manual mode because it only reads to full stops. Unlike every other manual meter, there is no '0' or null indication to show you the correct exact exposure. Because of this you may be off as much as a half stop and not know it. This is critical for slides, unimportant for negatives.
You ought to wiggle the aperture ring in manual mode and use the aperture setting in the middle of the range over which your chosen shutter speed is indicated. As most cameras, manual shutter speeds go in full stops and lens apertures are continuously variable. Metering Tricks Filters When using filters dial the compensation into the camera manually. For a Tiffen screw-in neutral-density Grad ND 0.6 I just dial in +1 and fire away, easy. For a Polarizer I dial in the amount I've measured by previous tests, since polarizers vary. Most need +1 2/3 stops. You can use regular cheap linear polarizer filters.
You cannot see the effect through the viewfinder, since the viewfinder is polarized. Watch it, because of this you may be seeing effects that you won't see on your film. Only use the viewfinder for composition, focus and exposure reading. Look through your filters held up to your eye to see the polarization effects. You may be able to hold a circularly polarized filter up to the viewfinder and see the effect accurately. I have not tried it.
Even with the polarized view through the finder I have not seen exposure errors with heavily polarized subjects. This tells me that the meter is not reading through the polarized section. See more on my filter page about how to use graduated ND filters and polarizers. Manual or Auto Exposure?
Manual exposure readings only read to the nearest full stop, so you will only be within a half stop in manual metering mode. This makes the manual meter kind of useless.
Because of this I prefer the AEL mode for everything. Otherwise, if shooting transparencies I suggest dithering the aperture ring and finding the aperture that causes the camera to read in the center the indicated shutter speed. Remember, manual speeds only set in full stops, and in the auto modes they set to any speed they need. Exposure Compensation Quick exposure compensations are made by holding the shutter button partway down to lock the exposure in AEL and shifting the aperture ring a click or two whichever way you want it. Night Photography In extremely low light where you need more than 4 seconds of exposure, set the meter to a faster film speed (and add negative exposure compensation if needed), make your reading manually, and then convert to the longer exposure time in your head.
For instance, at night I prefer to set the camera to a film speed six stops faster than my film and set the exposure manually. In this case the meter reads directly in minutes, since six stops is a factor or 64 times, the same difference as a second is to a photographic minute.
(A photographic minute is 64 seconds long.) For, I set the meter to EI 1,600 and minus one stop exposure compensation, for an equivalent of EI 3,200 (3,200 = 50 x 32). If the meter reads 1/4 second at f/5.6 I use a quarter minute (16 second) exposure at f/5.6. 16 seconds is 1/4 of a photographic minute. For the less mathematically inclined, here are the numbers. Remember to set film speed six stops faster and then use this table.