So when you remove the mirror cable, be careful that this little tube fits entirely in the lens, you must not see the red circle , otherwise, your Mamiya will be blocked, and you will not be able to make new photos.
If the mirror is in the up position if the tube stays out after a release, even though you removed the trigger cable , you will not be able to remove the film back, and you will not be able to use the cocking lever neither remove your lens. To solve this problem, you need to screw the cable in again, then unscrew it, making sure the tube recesses itself back into the lens barrel.
So, Important reminder: when you screw in a cable on the lens plug, you can see a little tube coming out with a red ring around it. When you remove the cable from the lens plug, take care that the tube is totally retracted until you no longer see the red ring. Instead, you will no be able to shoot with your RZ! And it works like that. When you push the release button on the cable, it first lifts the mirror up, then shortly after, trips the shutter. As the big mirror can produce vibrations that blur your images at low speeds, this double cable is a perfect solution, especially for long time exposures.
But remember: you have to lift up the mirror first using the cable screwed onto the lens! Many photographers find the focusing system on RZ67 different and quite awkward to their usual cameras. The RZ67 uses bellows focusing with a rack and pinion drive, much like a large format view camera, but without ground glass nevertheless, there is an option available for the RZ! When the bellows is deployed, the camera shows a diagram on the right side of the camera body with a lot of information.
This diagram is to help you find the right depth of field DoF and set the best diaphragm to get what you want in focus. You also use the blue ring on your lens that tells you what the real DoF obtained with your diaphragm setting is.
On the left of the diagram, you have the focusing distances in meters white and feet yellow. On the right, you have a list of lenses ranging from 50mm to mm not the complete system. In between these, there is a diagram for each lens, for the corresponding focusing distance. The diagram is also useful to find exposure compensation values when the bellows is deployed.
You can see from the diagram below that the 90mm lens only needs a small amount of compensation to be added. The picture below shows the bellows extended fully. Check for the white dot to see which curve represents which lens. From the right to left: 50mm, 65mm, 75mm, 90mm, mm, etc. Fully collapsed bellows will give you infinite focus for all lenses. Fully extended, it depends on the lens, but you can focus as close as 0. The distances on the camera go from infinity to 0.
For example, the minimum focusing distance from the front of the 50mm is 45mm. As you rack the bellows out to focus, the diagram shows you the amount of exposure compensation you will need to apply to your meter reading based on the distance to your subject. As I mentioned above, this is because the further the bellows is extended, the less light will hit the film, and the film needs more light to make a correct exposure.
There is no need to do this if you use the FE prism in semi-automatic AE mode. The top scale is the extension of the bellows in mm, depending on the lens used and the distance of your subject, but you can read it immediately. It will also be necessary to set the floating lens elements if you use a lens with floating elements depending on the lens you are using.
There is more on that in part three. RZ lenses have Depth of Field scale accompanied by a blue rotating lens distance scale in meter and feet used to inspect the depth of field for particular aperture. After checking the depth of field, it is wise to set focusing for lens and distance by rotating the bellows focusing knob on the camera.
This blue rotating ring is purely informative, it is only a calculator, it really does nothing to the lens. To perfectly manage your depth of field with these two elements, you first need to determine the distance of your subject by using the scale on the right of the camera, which depends on the lens used and the deployment of the bellows to calculate the DOF.
A detailed explanation will guide you in the lens chapter. I think that the focusing knob of the RB and first-generation RZ has too fast development, meaning a very small change on the knob can radically alter the focus point. The details of this display are valid for all types of viewfinders, including the WLF. The Mamiya RZ67 system offers 8 focus screen and three viewfinder options — all user interchangeable. There are three points surrounded by a red circle in the image below.
This is where the focusing screen is fixed on the top of the camera:. Another thing: after removing the focusing screen, the mirror in the camera is no longer protected! Never touch the mirror in any way. I found out this focusing screen not very practical to make a precise focus. So I tried to find a better one, and the problem has begun: some focusing screens are easy to find, some others are incredibly rare and very requested.
After one year of research, yes, one year, I finally found one a miracle! With the FE and its magnifier, I do not shoot any unfocused images anymore…. Same as Type A, but with a central split-image rangefinder wedge, surrounded by a microprism collar. Highly versatile 3-way focusing rangefinder, micro prisms, matte screen.
Ideal for general purpose photography. According to the Mamiya catalogs and the documentation you can find online, this listing may be mixed. I already found online focusing screens for the RZ with weird references, I have never seen in any Mamiya official manuals. Mamiya made a lot of different versions of viewfinders. And you can also use older ones from the RB with a little accessory. Some are fully manual, and some are semi-automatic providing AE. Some reverse the image right to left, and some show you the exact image you see with your eyes.
This is a presentation of the main viewfinder types you can use with an RZ camera. You have two blue buttons on each side of the front of all viewfinders, push them simultaneously like shown in this image, following the arrows. Then pull up the viewfinder to remove it. Not complicated. It had a wide selection of interchangeable lenses, prisms and focusing screens, interchangeable film backs including Polaroid , or digital capture backs, offering photographers the possibility to choose the right tools for the job.
Manual or motorized film advance plus many useful accessories made the RZ67 Pro IID the ideal image capture solution for digital and film workflow. Mamiya RZ Pro IID has been considered a versatile, modular camera system for the most demanding commercial photographic applications including advertising, illustration, fashion, beauty, industrial, portrait and architecture. Mamiya RZ Series lenses have ultra-precision timed, fully synched, electromagnetic leaf shutters, with specialty optics including Shift, variable flat field Macro, Zoom, Fisheye, and a spectacular series of telephoto APO lenses.
In addition to a wide assortment of interchangeable film magazines, inserts and backs, other system accessories include motorized film and shutter advance with Winder II, interchangeable focusing screens, variable diopter eyepiece magnifier, extension tubes and remote control. Mamiya lenses are designed and built for today's foremost photographers who expect their equipment to provide both outstanding and distinctive results both on film and digital.
Engineers at Mamiya developed rigorous performance criteria for each lens design. No detail was overlooked. No test was omitted. The goal is technical perfection The result is a series of lenses which have set the new world-standard of performance.
Each lens element is precisely polished and coated using Mamiya's proprietary multi-coating process to increase light transmission, dramatically reduce flare, ensure crisp, clean whites and vibrant, yet natural colours. Mamiya engineers and inspectors continuously tested as the lens was assembled to insure flawless quality. The result is a lens designed so carefully, built so meticulously, that it consistently renders extraordinary performance.
It is Mamiya's unique balance of extreme sharpness, brilliant contrast, accurate and consistent colour fidelity and overall high performance that captures the imagination of contemporary photographers who choose Mamiya to express their personal visions.
Overview Discussions Photos Members Map. Fungman pm, 12 November Does anyone know the answer to this?
Publish Preview. Don't forget the Pro IID as well. Post Reply Preview. Which would you fine folks recommend? My ideas down the road were to do M mount most likely. I know this get asked quite often, my apologies. I just want to be sure before I make any decisions. Thank you all in advance! Member Offline Posts: Here is an article we posted on our blog regarding the different adapters available for Phase One Backs and the various models of the Mamiya RZ which you may find useful.
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