Mamiya 7

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July 1995

British Journal/Photography

On Test: Mamiya 7

Geoffrey Crawley

The new 6x7 coupled rangefinder, interchangeable lens roll film camera system from Mamiya is reviewed by Geoffrey Crawley.

The new camera uses the same basic body as the Mamiya 6MF, reviewed in BJP, 1 and 8 February this year. The dimensions, styling and operational layout scarcely differ, so a detailed examination is unnecessary. The only major practical difference is that the lens flange panel does not retract. The 17mm depth reduction this gave when packed away is no great loss. In fact, those who feel instinctively more comfortable with a fixed flange to film plane distance will approve.

Another change is the removal of the strap attachment flange from the upper right side of the camera, leaving the two down the left side. In practice this is the best way to hang the camera, as the right side is then completely free for the hand to grip as wished and the thumb to wind on the lever, particularly when held vertically. The coaxial flash socket now occupies the position of the 6MF's lens panel retraction lock on the camera front, at 5 o'clock under the lens box. It is much safer there than to the right of the viewfinder behind the hot accessory shoe on the camera back.

The only other function on the 6MF back, the self-timer activator, now a button not a slider, has been moved to the camera front, next its red warning blinker window. Finally, the lens panel box, being now fixed, allows a spline to extend from the baseplate under it. This can help steady the camera on an off-tripod flat surface. It also stops it tilting forward, as it would then otherwise do, so making use of the self-timer, for example, more difficult.

Formats
On opening the back - you need to do this if you want to play with operating the capping blind and shutter without loading a film - the widened film gate and longer pressure plate are the only noticeable changes. The back can be removed, although , as yet, no interchangeable one is available. Since the lens does not retract, the internal bellows is not needed. The dark chamber is black felted against flare. Frame dosing is again by a friction roller, with a pinch roller on the back bearing on it. The high build quality is very apparent.

Mamiya warns against over hasty winding on. It could cause slippage leading to uneven frame spacing, or affect film flatness over the longer format if slack developed. There should be no flatness problem as film feed is direct. And, even if a kink did develop after a long wait, it would be transported past the gate at the next wind on. The sprung film spool releases are very handy, making it unnecessary to use a finger nail to extract the reels. Film wound on tightly.

The 6MF allows three formats: 6x6, 4.5x6, and 54x24mm 'panorama' using the 35mm film adaptor kit. The Mamiya 7 allows 6x7 and a lengthened panorama format of 64x24mm, 16 on a 36 exposure 35mm film. The kit comprises a gate mask, adaptor inserts for cassette and take-up spool, and a rewind crank unit. The latter screws into the tripod bush and the crank engages in a coin type slot on a rotating baseplate disc, an extension of the lower reel lug. Mamiya can supply card mounts.

For 220 and 35mm the pressure plate is rotated. This action pushes over a lever which, on closing the back, resets the frame counter to allow for the increased number. The obvious point which will be made is - what about a 6x6 mask? There would be no problem with lens covering power, and the four available would be very useful: 43, 65, 80, and 150mm. But it is probably too much to expect yet awhile.

The camera fits itself excellently to the hands and is easy to hold steady at the longer shutter speeds, especially as the release has a just-right softness. The mid-lens shutters are, naturally, very quiet. Although the design is that of the '6', holding the camera upright for the portrait 6x7 format is almost as convenient. You just have to move the left hand further round the lens barrel when focusing, to avoid infringing on the view/rangefinder window.

Exposure Metering
The two exposure modes are manual, and aperture priority. The user then sets the aperture on the lens barrel, and the camera adjusts the speed, which is shown - with 'over' and 'under' warnings when necessary - in the viewfinder. The exposure can be locked for reframing after a local reading. This locks requires the shutter speed dial to be turned from 'AE' to 'AEL' - and back again afterwards. A sprung button convenient to thumb or fingers of either hand would be much more convenient. In manual the deviation from the meter reading is shown on the viewfinder shutter speed scale. The sensor, and SPD, scans in the view/rangefinder system, and has some bias to the center, yellow ranging zone.

Many potential purchasers will be those who seek to improve on 35mm and are attracted by the similarity of handling - at least to that of a manual model. Apart from remembering that roll film is not DX-coded, the change to a less sophisticated, non-TTL metering system will require readjustment and the meter view angle does not change with lens focal length. The auto mode is not a point-and-shoot invitation but ad hoc guidance. This is a professional camera. It requires at least a reasonable understanding how to take readings intelligently.

This caution about exposure is particularly true of color or Scala reversal work. For black-and-white or color negative, a safety margin can be provided by adding a stop on the exposure compensation dial, or dropping the film speed rating, until experience is gained.

The over-exposure latitude of these films is good enough and any tendency to underexposure, which the reviewer found when taking straight readings counteracted. For really critical work, owners of an off-camera narrow angle or spot meters will no doubt use them.

Viewing and focusing is clear and unambiguous. The optical rangefinder effective base length of 34.2mm is low considering the 80 and, especially, the 150 lens. This applies to the double image superimposing central yellow zone. If, instead, the moving image in that zone is aligned with its continuation in the direct view above or below it, there is an effective baseline gain, Mamiya suggests. This split image option requires vertical subject traits to work, which can often take longer than double image superimposition, as Mamiya calls it.

Overview
The question "Why a CRF?" was discussed in the Mamiya 6MF review quoted above so recently that it is not necessary to go over the same ground again. As with the Leica CRF models, problems really only arise when framing with long focus and very wide angle lenses. The need for a supplementary finder with the latter, here the 43mm, brings an element of uncertainty. But these disadvantages will mainly be significant for reversal, transparency work where tight framing is required. Apart from being a major step up from 35mm with similar handling, the roll-film CRF may be a preferable eye-level camera for the view camera user. By no means an inexpensive option, it is a type finding a slow but steadily growing niche in the marketplace. The Mamiya 7 is a notable addition, meriting careful consideration. It is a very pleasing camera to operate, like its fellow 6MF.

Reprinted with permission of the publisher.