Mamiya 6x7 medium format SLR camera system

introduction

6x7cm format gave 10 images per 120 roll
traditionally the standard size for stock image photography
photographers on portrait assignment for magazines often use the 6×7 format when weight is not an issue
Mamiya introduced their heavy and somewhat clunky 6×7 medium format film system in 1970 starting with Mamiya RB67 pro SLR
Mamiya pioneered 6×4.5 medium format film camera systems in 1975 with their Mamiya / Phase One 645 medium format camera system

direct digital ready version of the Pro II.
advanced microprocessor technology for traditional film capture, while enabling direct communication of many camera functions to digital capture backs through its MSC (Mamiya Serial Communication) system.
2.5kg; $A2847 body only (2005);

The original RB67Pro, which lacks dark-slide and wind-on/double exposure interlocks, as well as lacking in-finder, horizontal frame indications (the red bars that automatically position on back revolve. There are indicators etched on the focus screen).
RB = Revolving Back design - back rotates 90deg for portrait/landscape.

differs from the earlier model in that it has interlocks for darkslide, double exposure/wind-on, a focus-knob lock and the aforementioned 'red-bar', auto, in-finder frame indicators. A new Pro-S back series was introduced and is needed for full function of the D'slide/dbl. exposure interlock system.

It's biggest improvement is a larger lens throat, built that way to accept the newly redesigned K/L lens range. It is the only RB capable of using the new 75mm shift and 500/6 APO. Older 'C' lenses will still mount via a Mamiya supplied adaptor. Two other new accessories were introduced with the SD: the 6×8 back that's only usable on the SD model (I believe) and a motor driven back (for both the ProS and SD models).
full mechanical reliability.
RB lenses with the old style shutters should NOT be used on RBSD or RZ cameras, because they put too much stress on the cocking mechanism .

Modernized version of the RB67 with electronic shutter; single stroke film and shutter advance mechanism, Auto-masking, bright viewfinder. Inter-locking AE auto exposure finder and other remote electronic accessories. Computer designed lens system.
The RZ/RB cameras are basically miniature Graflex Super D's and suffer from a size/weight problem. The RB takes two actions to advance to the next frame and is much slower to use than the others reviewed here.
The RZ/RZ P2 is single step advanced and much faster to work with. The lenses are a step above the Ptx. 67 and the meter (with the AE/AE2 prism) is exceptional. Faster glass is available (75 3.5, 110 2.8, 150 3.5 APO and a 500/6 APO ) and you can focus VERY closely. Problems arise from the cameras balance at even mildly close distances though (It gets very front heavy and the mirror action gets hard to control when handheld at the closer end, forcing the use of faster speeds). The revolving back and the leaf shutters are very convenient and, with a grip, the camera is very handholdable ( just not for very long). It's beautifully made, has great film flatness but is big, noticeable and very expensive.
instantly change from vertical to horizontal composition with the interchangeable revolving back design.
Bottom line is that a Pentax 67 does better in the studio than this camera does in the field, but when the slides come back, the RZ wins.

Updated version of Mamiya RZ67 Pro, featuring 1/2 step shutter speeds, dual track micro-fine bellows focusing and internal diagnostic circuitry with audible warning signals.
Differences between the Rz and the RZII are the addition of half step shutter speed settings in manual mode, a fine focus adjustment wheel and icon etchings on the focus screen for the interlock warning lights (all additions are to the newer RZII body).
A 1/400 second mechanical override is provided in case of battery failure.
flash synchronization at all speeds from 8 seconds to 1/400 second,
built-in fast and accurate bellows focusing.

50mm floating element (eq. to 24mm; NO distortion whereas the regular fifty is almost fisheye at the edges)
75mm SHIFT lens
110mm (excellent lens in terms of view and performance, can shoot models with this lens as long as you don't get too close)
140mm Macro
150mm (great lens for portraits - nice spacial rendering and convenient working distance to the model )
250mm APO (a great lens)