Mamiya RZ67 pro ll

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September 1993

Camera & Darkroom

The Best Gets Better

David Kellar

Not a single camera exists today that can honestly claim to satisfy the needs of all - or even a significant percent - of photographers.

Thirty-five millimeter SLR portability is a must for the photojournalist and travel photographer, and large-format flexibility is inseparable from much commercial and fine-art work. The wedding and location fashion photographer prefers a 6x4.5 or 6x6 medium format camera over its smaller and larger-format counterparts for its precise balance of a relatively large negative with a highly mobile camera body.

And for the studio portrait and fashion photographer, nothing beats a 6x7. Its large, well-proportioned, rectangular negative makes high quality prints that fit nicely in picture frames and on the magazine page with a minimum of cropping.

Of the limited group of 6x7 cameras on the market today, only one offers a rotating back that allows vertical shots without flipping the entire camera. This is the primary factor behind why the Mamiya RZ67 is found in more working portrait studios today than any other camera on the market.

Tailoring each camera to a specific genre of photographer is the secret behind Mamiya's continued success in the medium format arena. The RZ676 is not for everyone; it is a bit cumbersome and heavy to lug around all day everyday, and it does not offer the swings and tilts necessary for flexible focus-plane control. But for the task it was made for - photographing people in a studio - it is unequaled.

Since taking over in 1982 for its elder brother - the all-mechanical, all-manual RB67 (which Mamiya still produces to support a small but loyal following) - the RZ67 has established itself firmly in the professional studio.

In addition to its rotating back, reasons for the RZ's popularity are a line of razor-sharp lenses with built-in precision electronic shutters; built-in bellows, facilitating closeup work without additional accessories; modular finder, film back and lens interchangeability a la Hasselblad; a full range of accessories including a motor drive, wireless remote-control unit and auto-exposure prism-type viewfinder - plus backward compatibility with RB lenses and accessories.

Now, 11 years later, Mamiya is taking these improvements - and compatibility - a step further with the release of the RZ67 Professional II. Compared to the original RZ67 Professional, this camera gives you greater control over exposure and focusing, makes it harder to make mistakes (such as accidentally leaving the camera in AE finder mode when shooting with the waist-level finder), and provides foolproof compatibility with mechanical RB lenses.

Introducing the RZ67 PRO II

At first glance, the RZ67 PRO II looks identical to its predecessor except for a slightly more "modern" look achieved through rounded corners. Upon closer inspection, however, one finds some small but significant additions.

First is a fine-focusing ring added to the right-side focusing knob. Compared to the solitary "rough" focusing action of the previous model, this feature adds a level of precision sure to be welcomed by finicky studio photographers who like their focus tack-sharp. After focusing with the main knob, final adjustment with the fine-focusing ring gives precise control. A lock lever on the left focusing knob anchors the focus at the desired position.

Second is a new shutter-speed dial providing shutter-speed settings in half-stop increments - a feature virtually unheard of on medium- and large-format cameras, and only just recently becoming available on today's computerized 35mm SLRs.

What does half-stop shutter-speed capability mean to you? Well, when using flash (as portrait photographers tend to do), not much, because flash exposure depends solely on the aperture setting. But when shooting outdoors or in a sunny studio where ambient light is an exposure-determining factor, it means a lot, because you can set the aperture precisely to achieve the desired depth of field, then adjust the shutter speed in half-stop increments to fine-tune the exposure.

Fashion photographers working in daylight with fill-flash techniques will especially find this useful, since the shutter speed can be adjusted precisely to achieve the desired background exposure after the aperture is set to achieve proper flash exposure.

Another addition to the shutter speed dial is the "RBL" position for use with RB lenses. Since RB lenses incorporate a mechanical shutter, shutter-speed setting is carried out on the lens along with the aperture setting, making the camera body's shutter-speed dial redundant. When using an RB lens with the original RZ67 PRO, you just set the camera's shutter-speed dial to any position. But since this leaves the camera's circuits "on", problems sometimes occur due to conflicts between what the camera wants to do and what the lens is actually doing.

With the RZ67 PRO II, setting the shutter-speed dial to RBL turns off the camera's internal electronics, providing fully mechanical operation like the RB and nipping any potential electro-mechanical conflicts in the bud. To make sure you don't mess things up by experimenting with different setting combinations, the camera will refuse to take a picture through an RB lens unless the shutter-speed dial is set to RBL; nor will it operate if the dial is left on RBL when an RZ lens is attached. Instead, a beeper sounds a warning when the shutter button is pressed.

The same beeper/shutter lock action prevents operational errors when there is no lens on the camera and when the shutter-speed dial is accidentally left at "AEF" (for the AE finder) when the waist-level finder is attached. An audible beeper warning is also provided to notify you when the battery runs low.

A nice new touch to the PRO II's film back is an extra frame-counter window that gives a clear view of the exposure number, regardless of whether the back is in the vertical or horizontal position.

In the viewfinder, three lamps- green, red and orange - notify you of various camera-operation states. The green lamp lights when the flash is ready (this LED is used with the Mamiya MZ 36R flash, which is currently discontinued, and will be usable with new SCA and Sunpak units that will be available soon); the red lamp blinks when the battery runs low and lights if the film's dark slide is left in place blocking the film; and the orange lamp lights to warn you that the film has not yet been fully advanced.

Though the previous RZ67 also has these same three LEDs, it was up to you to remember which LED meant what. Mamiya made the PRO II friendlier by imprinting symbols on the focusing screen next to the LEDs. At present, only the standard A screen and the A4 grid screen have these symbols, but Mamiya says it will eventually provide them on its other screens as well.

With the release of the PRO II, Mamiya also took the opportunity to upgrade its AE prism finder. The new finder has a sleeker, more rounded design and moves the shutter-speed and exposure-compensation dials to the top of the prism housing near the eyepiece for improved visibility and accessibility.

Like the previous model, the AE finder provides an aperture-priority automatic-exposure mode that automatically sets the shutter speed in 1/6 EV increments according to the light level measured by the finder's built-in light meter. Three metering modes are available: average metering, spot metering and an "Autoshift A/S Matrix" metering mode that combines the two (these modes are also provided in the Mamiya 645 PRO's AE prism finder).

In A/S Matrix mode the camera automatically uses spot metering when the subject is backlit (i.e., when the central spot metered light level is more than 1.5 EV darker than the overall average-metered light level), average metering when the center is the same or brighter than the average, or an intermediate value when the center is 0.75-1.5 EV darker than the average. "A" and "S" indicators in the viewfinder display inform you which mode the camera has selected.
In addition to the metering-mode display, the AE finder provides both a shutter-speed display and a precise five-step "zero method" manual-exposure display that indicates when the exposure is correct, 0.25-.075 EV over or under, or greater than 0.75 EV over or under.

Other features preserved from the original RZ67 PRO include an automatic masking system that links frame masks to the revolving film back so that the viewing area is always correctly masked for both vertical and horizontal shooting. Accessory film backs give the option of shooting 120 and 220 film in 6x7, 6x6 and 6x4.5 formats, as well as 7x7 Polaroids, and RB film backs can be used with an adapter.

Using the three-position ring surrounding the shutter button, you can switch to a mechanical shutter speed of 1/400 sec. if the battery unexpectedly bites the dust, or lock the shutter release to prevent accidental exposure during transport. This latter feature I highly recommend using, because the shutter button's location near the base of the camera makes it very easy to press when handling the camera. (During the week I spend testing this camera, neglecting this simple preventive measure cost me more than one frame of film!)

Optics

A major attraction of the RZ system is a line of 19 superb lenses known for their sharpness, contrast and color balance. (Though I've heard some pros complain that the lenses are too sharp, requiring extra retouching or portraits to get rid of wrinkles and skin blemishes.)

When the RZ67 PRO II was released in Japan in February, Mamiya also introduced three new lenses: the M75mm f/3.5L, which brings to the line-up-up a very usable focal length (equivalent to a 36mm lens in the 35mm format); and the M65mm f/4L-A (equivalent to 32mm lens) and Macro M140mm f/4.5M/L-A (equivalent to 68mm lens) which replace the existing Mamiya-Sekor Z 65mm f/4 and Mamiya-Sekor Macro Z 140mm f/4.5.

The main improvements over previous lenses are the inclusion in each lens of ultra-low-dispersion glass elements and a floating element design that corrects curvature of field and other aberrations to ensure high contrast and sharp, uniform resolution from the center of the image to the edges. In operation, the floating elements must be adjusted manually by setting a ring on the lens according to the focusing distance (which is read off the scale near the bellows by the right-side focusing knob).

Though better image quality is obtained than with non-floating optical systems, a possible drawback is that image quality could actually become worse if you forget to readjust the ring each time you focus. My feeling on this, however, is that most photographers will feel that the extra sharpness outweighs the bother of the extra adjustment step.

Mamiya's 140mm macro lenses have always employed floating elements due to the extreme field flatness required in close-up photography, but the new 65mm and 75mm models represent the first time that Mamiya has incorporated floating correction capability in non-macro lenses. The image-deteriorating effects of curvature of field can be noticeable at close focusing distances, and since the RZ67's rack-and-pinion focusing system allows closer focusing than internal-lens extension designs (as close as 8.5cm/3.35" with the 65mm lens), the ability to correct curvature of field is important.

Along with the new lenses, Mamiya introduced a new but somewhat puzzling lens-naming system. Under the new system, the "Mamiya-Sekor Z" prefix is replaced by a simple "M". So far, the reason for the new naming system is clear - simplification. The puzzling part comes at the end of the names, which are appended with "L" and "A" suffixes. One might expect "L" to mean something like "low-dispersion," but according to Mamiya, it actually stands for "lens shutter," which to me seems meaningless since all RZ67 lenses have built-in shutters. And the "A" tacked on the end of the 65mm and 140mm lens names does not stand for "aspherical" or "apocromatic," as you might think, but simply means that the lens is a second-generation lens. Thus, future versions of the 65mm model will be indicated by a "B", then a "C", etc. That's why the M75mm f/3.5L, which is the RZ67's first lens at this focal length (excluding the perspective-shifting Mamiya-Sekor Shift Z 75mm F/4.5 W), is letter-less. Maybe I'm the one whose logic is skewed, but wouldn't it make a lot more sense if first-generation lenses were indicated by an "A",. and second-generation lenses by a "B", or better yet "I" and "II"?
Impressions

Since my preference of photographic subject tends toward found objects and people illuminated by existing light, I decided to take the RZ67 PRO II on a trek around the Tokyo metropolis, as well as the stomping grounds near my home in Kamakura, which is a former capital of Japan characterized by ancient temples scattered through forest-covered hills.

Granted, the RZ67 was not intended for use as a field camera - the lightweight Bronica GS-1 and Pentax 67 are more appropriate for such applications - but I've seen more than a few photographers in Japan use it that way. And after my week-long encounter with the camera, I must admit that except for its heft (which is not an insignificant encumbrance), I found it quite easy to handle.

The extra bulk compared to the Bronica and Pentax is due to the fact that the RZ67 is designed as a 7x7 camera, in order to accommodate the revolving back, which produces both horizontal and vertical 6x7 images. The GS-1 has a similar Hassy-type modular design but uses a fixed horizontal 6x7 format, allowing Bronica to trim a centimeter off the body and back and use smaller and lighter lenses. The Pentax 67 employs a SLR-type focal-plane shutter design, which allows even lighter lenses, but like the GS-1 does not have a revolvable back. Thus each camera has its own distinctive personality, and it is up to you to decide which features you need most.

Though it is recommended to mount the RZ67 on a tripod whenever possible, handheld shooting is sometimes necessary. As long as a fast-enough shutter speed is used, and you can hold the camera fairly steady, shoot away. But unless you like strained arms, this is
only fun for short periods.

When planning to bear the RZ67 on your shoulder for a day, minimalist thinking is in order. The 2-lb. AE finder, for example, stays at home, nicely replaced by a handheld spot meter. Extra lenses also stay at home - pick one for the day, and plan your photographs around it. The body with one film back, 110mm standard lens and waist-level finder weighs a very totable 5 1/2 lbs., leaving enough lugging leeway for a sturdy lightweight tripod.

Though I didn't find my photographs too badly affected by camera shake caused by mirror shock, locking up the large, klunky mirror is recommended for maximum sharpness. The RZ67 provides this capability using a double-action cable release that swings the mirror up and locks it before tripping the whisper-quiet lens shutter.

The revolving back is as handy in the field as it is in the studio, making it easy to quickly switch formats without putting the camera on its side. For handheld shooting, the AE finder - if you bring it along- makes life easier with its laterally corrected image, built-in metering and easy-to-read exposure displays. An optional side grip with trigger-type shutter button is also worth the money if handheld shooting is part of your regular routine. Add the 2-lb. motor drive, however, and you've got a monster in the making.

But I digress. The point is not how well the RZ67 performs in the field, but that it can be used in the field, and effectively at that. Where the RZ67 really shines is in the studio, taking pictures of people. In that setting, where weight ceases to become a factor, the RZ67 is the best in its class. And the best just got better.

In addition, the maximum apertures of the lenses are nothing to get excited about. Most of the telephotos are f/5.6. If you use the 1.4X teleconverter, the effective aperture is now f/8. Focal lengths are actually shorter - to get an approximate 35mm equivalent, divide by two.

The longest focal length I have is 500mm, plus the 1.4X extender, which equals 720mm. This is equivalent to about a 350mm f/8 lens in 35mm photography. In moderate to low light conditions, I'm forced to use a shutter speed that's dangerously slow or fast, grainy film to compensate for the serious loss of light with the f/8 lens combination.

Medium-format equipment is also very heavy - my photo backpack weighs about 55 pounds. I used to be six feet, four inches tall but, after 25 years in photography, I've been compressed down to five, ten!

Overcoming The Challenges

How do I deal with these challenges and bring back saleable wildlife images? Here are some of my solutions.

Shoot at nesting and den sites. When you know where an animal will be, it's not difficult to prefocus on a position and wait. With a simple blind, you can set up a camera and tripod surprisingly close to a bird's nest or the den of many animals without disturbing them or frightening them away. (A good nature photographer always respects his or her subjects.) Depending on the species, it may require many days to bring the blind into position, but once you're inside, your subjects will be within telephoto range of Mamiya's lenses.

Travel to destinations where wildlife are unafraid of human presence or accustomed to vehicles. Many wildlife refuges across the United States have very accessible roads perfect for photographers. In Africa, animals are used to seeing dozens of safari vehicles on a daily basis, and they consequently ignore their presence. By using the automobiles as a blind, you can get quite close to most species. In the Galapagos Islands, you can virtually walk up to most of the birds, reptiles, mammals and crustaceans and photograph them with a wide-angle lens!

Bait animals with food. In winter, animals are hungry. Food is often buried under many feet of snow. The air is crisp and clean, and the scent of food travels a long way. Predators such as foxes, wolves, coyotes, bobcats and eagles can detect pieces of raw chicken or beef from long distances. Working from a blind and being very still and quiet, you can attract a wide range of wildlife to your location.

Seed-eating birds that remain in the north during the cold months of winter can be attracted to a location with high-protein sunflower seeds, peanuts or almonds. If you hollow out the top of a branch and insert the food material below the surface of the bark, it won't show when you photograph the birds from the correct angle. This kind of bird photography can be done from the comfort of your own heated living room. If a tree doesn't grow close enough to your house, cut an attractive branch and mount it on a post a few feet away from a window. Keep your camera mounted on a tripod, prefocused on the right spot.

Work with captive animals. While some controversy has followed captive animal photography, such work offers the chance to show off these beautiful animals in ways otherwise impossible. Most game farms treat the animals with great love and care. Avoid those that don't.

Game farms have most of the large North American mammals, including grizzly bear, mountain lion, lynx, bobcat, wolf, coyote and fox. In natural environments, you can conveniently use a Mamiya RZ67 or other medium-format camera. Even under these conditions, however, it isn't easy. The animals run all over the place, and it's all you can do to follow focus. But over the course of several days, you'll be able to take dozens of great images.

Other controlled situations would include butterfly houses, butterfly farms (such as those found in New Guinea), major aquaria such as the Monterey Bay Aquarium, reptile houses, crocodile and alligator farms, breeders of exotic birds, reptiles and amphibians and raptor rehabilitation centers. In these situations, you'll be able to get very close to each species and fill the frame with them, even with the limitations of medium-format focal lengths.

Using these techniques, I can compete with 35mm shooters. It's true that even under the best circumstances, I sometimes miss shots because my equipment just isn't fast enough or automatic enough to capture the action. I've accepted that, however, in exchange for the awesome clarity of a sharp 6x7cm image. When I present a slide show, the audience isn't seeing the shots I've missed. But the ones they do see, and the ones I present to my clients, are truly spectacular.

Reprinted with permission of the publisher.