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1. #MAMIYA 7 II SAMPLE PHOTOS PROFESSIONAL PHOTOGRAPHERS DURING#
2. #MAMIYA 7 II SAMPLE PHOTOS FULL FRAME 35MM#
3. #MAMIYA 7 II SAMPLE PHOTOS MANUAL EXPOSURE CAPABILITY#

I saved my money from caddying for an entire summer to purchase my RB67 Pro-S kit with 90mm f/3.8C I think the Mamiya 7 150mm lens would be the best lens for portraits but I read that photos with these lenses are often blurry due to the camera and or lens.Editors Note:English is not the native language of this article’s authors. The RB67, on the other hand, signaled a change for me and represents the moment I began to take photography more seriously. While the Canon AE-1 was the first camera I ever owned, that camera was a hand-me-down. The Mamiya RB67 Pro-S is the first camera I bought.

Mamiya 7 Ii Sample Photos Manual Exposure Capability

The picture shows a pair of interacting galaxies called Arp 273.In this article we will provide additional insights to those found in a previous reviewon this site, written by Eduard de Kam. Quiet, compact and lightweight, the Mamiya 7 II has a built-in Aperture Priority A/E meter with fully manual exposure capability.Get it below and give us feedback: Get accurate psychic aura readings online 24/7 at Oranum. It is 'The Ultimate 6x7 Rangefinder', virtually no bigger than the top 35mm SLRs. The Mamiya 7 II is a medium format 6x7cm rangefinder camera with interchangeable leaf shutter lenses.

I also had a Pentax 645 for a while and while the lenses were good they do not reach the level of perfection that the Mamiya 7 II does. I can tell a major difference in 8 by 10's between the 6 by 7 and 35mm/digital. I use a Nikon 9000 ED and the results are superb. Digital can not touch this quality. At this moment, very few alternative reviews are available on the Internet.What a deal.

Mamiya 7 Ii Sample Photos Professional Photographers During

Medium format systems became too expensive, due to the high prices of digital backs. The digital revolution radically changed this status quo. They served different purposes. This multiplicity of incompatible but complementary systems was not irrational. Then, a Nikon 35mm set of cameras and lenses and a medium format (645 or 6×6) system was the typical equipment for fashion or advertising photography in studio. I think 35mm film is more suited to shooting these anything photos and something like a small Leica film camera, whether an M2,M3, M4P, M6 or otherwise.A diversity of systems cohabitated in the studios of professional photographers during the film days.

Mamiya 7 Ii Sample Photos Full Frame 35Mm

Slowly, but restless, the 35mm format is gaining momentum in the very profitable market of wealthy aficionadosand artists. Full frame 35mm cameras offer quality comparable to that of the film based medium format systems (645 and 6×6), allowing for a complete gamut of cameras based on the same mount, and saving a lot of money.Several medium format manufacturers have abandoned the market, unable to compete in the digital age. The cameras are not cheap, but compared with the medium format digital backs they are a bargain.

Actually, only a few of the medium format manufacturers continue in business, making cameras that accept digital backs.Hasselblad is the strongest innovator in the digital medium format market, with a new system of cameras and lenses (the H system) specifically designed for working with film and digital capture and, therefore, based on a body-and-back concept. Until now, there are more exits than entries. For this reason, many professional photographers (and aficionados, for different reasons) are continuously reevaluating the medium format offerings on the market. The process is not yet finished.Sometimes big guns are required for a particular assignment, or we are wealthy enough to aspire to maximum image quality without compromise (and, in passing, to the envy of anyone with smaller cameras).

The Hasselblad H2D, with 22 million of pixels and a HC 80mm f/2,8 as kit lens, costs 22,000-24,000€ (depending on the reseller), and if the digital back has 39 megapixels the bill goes to the 30,000€ territory. The zoom lens costs 1,782€. The importer’s official price of this camera in Spain, taxes included, is 11,600€ (body only). To put things clearly, it is said that the camera is good but with several flaws, and the difference in price is not be fully justified by the results. Only Canon succeeded with the Canon 1Ds, and then with the 1Ds Mark II and the 5D.The Mamiya ZD has not received much attention in the press, and the veredict has been mixed. If finished, they were interesting cameras with weak points and very high prices.

The weight is very similar. Comparing the two beasts you will have a better idea of the relative size of the cameras and of the relative size of a medium format zoom with a moderate range of focal lengths.The Mamiya ZD, in some way, looks smaller, and it is, except for the huge prism. We have equipped the Canon with a big lens: the Canon 200mm f/2.8 L. It was a strange sense of deja vu.We made several pictures comparing the Mamiya ZD with a Canon 1Ds camera. The same can be applied to the lens (a Mamiya 55-110mm), also very similar to the Zeiss lenses manufactured by Kyocera for the Carl Zeiss brand. It strongly reminds us of the look and feel of the Contax N Digital.

The only serious complaint is the small (1.8’’) LCD screen at the back. The Mamiya has a better look than the Hasselblad H cameras, which makes extensive use of plastics. The Mamiya is robust, but it doesn’t appear quite so sturdy as the Canon.

It corresponds to 34-68mm in terms of angle of viewfor the 35mm format. The batteries of the Mamiya ZD also drain very quickly.The Mamiya 55-100 mm f/4.5 zoom is big, and it adds a lot of weight and volume. It falls short of any of the excellent 2.5’’ screens that we can find in any inexpensive DSRL actually in the market.

The ratio of the diagonals of the Mamiya sensor and a full frame 35mm sensor is 1.4X.The zoom is very well built, smooth to handle and a pleasure to work with. Therefore, the Mamiya 55-100 mm f/4.5 lens would allow for the same control of the depth of field than a 34-68mm f/3.2 lens in 35mm format. In order to know what are the equivalent lenses of two different formats in terms of angle of viewand depth of fieldyou must to divide the minimum f-number andthe focal length of the bigger format lens by the relative crop factor. Nevertheless, the depth of fielddepends on the format, so maximum apertures of f/2.8 or even f/4.5 offer a lot of control of that variable in 645 cameras. This is not a 35mm réflex camera, although it seems to be one.

The traditional marks in the barrel of the fixed focal length lenses for the calculation of the depth of field aren’t valid anymore if a cropped sensor is involved. The crop factor also affects the circle of confusion, and therefore the depth of field changes. It must be applied to the focal length for obtaining an equivalent focal length, in terms of the angle of view, with respect to a film based 645 camera.

In order to resolve 6 line pairs per millimeter of real detail in an A3 print this sensor needs to resolve 52 line pairs (8.6 enlargement factor), which is within the theoretical maximum resolution of the sensor, although it cannot be achieved. It is too close for an A3 print, but we tend to approach after a first look. The human eye can resolve, at best, 6 line pairs per millimeter at 25 centimeters distance. With images of this size you can print a DIN A3 at 300 pixels per millimeter (6 line pairs per millimeters). The maximum theoretical resolution –Nyquist limit– is 55.7 line pairs per millimeter. In any case, the crop factor of this camera is small, much smaller than those of some DSLRs using 35mm lenses (ranging from 1.3-1.7).The Mamiya ZD has 21.5 million effective pixels, producing images of 4008 x 5344 pixels.

The same print from a 24x36mm sensor would need 72 line pairs per millimeter of realdetail in the sensor (the enlargement factor is 12X).We know modulation transfer functions (MTF) are decreasing, and one can get more resolution only at lower contrast levels. The bigger the enlargement, the higher the resolution needed to be resolved in the sensor for a given resolution in the print.