Medium Format Cameras For Beginners
Medium format cameras are a very common step up from the 35mm system for many users, offering larger negatives (and thus higher resolution), interchangeable backs and other advantages. Switching to a new system can seem a bit overwhelming at first, especially with the many different models available on the new and used markets today. The following guide aims to give you an overview of the different systems to get you a good starting point. If you’re not familiar with medium format photography, be sure to check out I Still Shoot Film’s Intro to Medium Format.
Medium format is different from 35mm in a few aspects. To be able to choose your first medium format camera, it is good to know what these are so that you can decide which system suits your needs best.
So – here are a few features that are different from 35mm systems and which you should consider:
Whatever some people might say, bigger sometimes IS better. Bigger film size means higher resolution and sharper images than what you would have from a 35mm frame. As a plus - film size also affects the way depth of field is rendered – it can sometimes be very narrow with medium format, making it a challenge to focus at times, but the results more than make up for it (especially with portraits).
This, apart from the obvious increase in image resolution, might be one of the more attractive features for new medium format users as it allows you to switch between different films mid-roll. Most of medium format cameras have this feature, except for the TLRs.
With the transition to medium format, you also get the choice of many different image proportions. Depending on the camera model, these can be 6x4,5, 6x6, 6x7, 6x9 or even 6x19cm. Using framing proportions different from the traditional 2/3 of 35mm film offers new ways of seeing things - the transition is most noticeable while switching to the square format, which truly allows you to see your compositions in a completely new light.
And while we are on the subject of seeing things in new light, it’s worth to mention the viewfinder:
It is of course possible to get medium format cameras which are very similar in use to 35mm system, including a prism. However, some models use what is called a waist level viewfinder, which allows you to see the image from above the camera through a (usually) slightly milky piece of glass. This is a one of a kind experience and needs to be experienced first-hand, as it is quite difficult to explain and properly describe the way thigs look through it. These finders are also interchangeable on most models, letting you choose the most appropriate screen type for your shooting situation (grids, etc.).
The medium format world can be divided into two camps: single-lens reflex (SLR) and twin-lens reflex (TLR) cameras.
The SLR, as its name suggests, have one lens projecting an image onto a mirror and into the viewfinder, with the mirror being pulled up just before the shutter is released. 35mm users will feel right at home here.
The TLRs were very popular amongst photojournalists in the 1930’s and 40’. Some models were still being manufactured as late as the 70’s and there is an abundance of choices on the used market today. The main difference from the SLR cameras is the use of two lenses - one for viewing and one for taking the picture. This design has many advantages as well as some drawbacks. The main advantage is that - since there is no mirror movement involved while taking the picture - TLR’s allow you to shoot handheld at much slower shutter speeds. The cameras are also usually quite light and portable. The drawbacks include no interchangeable backs and what is called the parallax shift. Because two lenses are involved, what you see is not exactly what you are photographing- there will be a slight shift between what is shown in the viewfinder and what will be recorded on film. This might not please those of you who are extremely precise with their compositions. For the rest of you – just remember to include a bit more space on the top of your frame and you’ll be fine. Also, using two lenses prevents you from seeing the effects of the filters, unless you put the filter on the viewing lens first and then attach it to the shooting lens before the exposure is made.
For more information on the differences between these two, check out ISSF’s TLR Vs. SLR: A Side By Side Comparison.
And now, for the cameras themselves:
{Mamiya RB67 via Guillaume Piolle / Wikimedia Commons}
Built like a tank, the Mamiya RB67 is an absolute beast of a camera, and is definitely NOT something that will fit in the smaller camera bags. You probably won’t be using it handheld for street photography either (it’s ridiculously noisy). But for everything else this is truly a great piece of equipment. Producing 6x7cm images, by many considered the perfect proportions, it delivers stunning results.
It is completely manual but there are metering prisms and motorized backs which make it a bit more automatic for those who wish to do so.
The operation might be a bit daunting at first but it is very easy to understand and is completely fool-proof. The viewfinder is extremely bright and makes focusing very easy.
{Mamiya 645 Super via Eric Gaba / Wikimedia Commons}
The Mamiya 645 Super is a smaller sibling from the Mamiya family. Add a metering prism and the motorized handle and the shooting experience is probably closest to 35mm from all the MF systems, which might appeal to those who do not want to change the way they work too much.
It has its own range of excellent lenses, has interchangeable film backs (a film back accepting 35mm film is also available) and many other accessories. Double exposures, as well as mirror lock-up are possible.
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