Mamiya 645 and Pro

[JoolsW]

I love older film cameras. Particularly Medium format. My professional days are long over.
I have x2 Mamiya 645 s, one an older M645 -with metering prism, and a more modern Mamiya 645 Pro, which has removable film backs, motor drive, more sophisticated prism metering.
I don't need two! I'm inclined to sell the Pro, merely because I prefer the more 'classic' look and feel of the older one. Functionally, the way I shoot nowadays there is little between them, but I think most people would say I'm mad to sell the later 'Pro'. Both are in excellent condition. What do you think?

 

[cgw129 154]

Age-related issues+service option deserts sink the old "heavy metal" Mamiyas. That and no film back. The Super/Pro/ProTL are newer and, if not worked to death,seem preferable. Their ergonomics suck without the noisy winder grip. Not a fan of the metered finders and prefer the plain prism and an incident/spot meter. These days with film+processing sky-high, I trust a handheld meter way more for consistency. Sekor glass is top-shelf. Shoot 'em till they break!

 

[JoolsW]

Yep. Although the Pro I have does have film backs, which is cool, I'd virtually never take advantage of that. Yes the motor drive on the Pro is noisy, though it's not an issue for me. And at around 1600g is an anchor! The plain jane 645 is lighter, although the meter prism is around 500 g on it's own. But I'd keep that anyway. Sure I have good ol' Sixstar meter that's accurate.

 

[cgw129 154]

Yep. Although the Pro I have does have film backs, which is cool, I'd virtually never take advantage of that. Yes the motor drive on the Pro is noisy, though it's not an issue for me. And at around 1600g is an anchor! The plain jane 645 is lighter, although the meter prism is around 500 g on it's own. But I'd keep that anyway. Sure I have good ol' Sixstar meter that's accurate.

Both were ergonomic nightmares without a grip or bracket that overcame their cobblestone shape. Handholding? Forget it. I find my Super with the grip drive easy/fast handling. Before I typically wasted 2-3 shots by accidentally hitting the shutter when focusing or winding. YMMV, as always.

 

[cgw129 154]

Can't resist weirdo factory accessories, especially those with some practical purpose. For Mamiya 645, this focusing handle demanded I take it home from a big swap meet in Toronto. The box sez Mamiya-made and sold by their N. American distributor back then--Bell and Howell! Arcana aside, it really does speed up focusing and looks killer.

 

[webestang6421]

Can't resist weirdo factory accessories, especially those with some practical purpose. For Mamiya 645, this focusing handle demanded I take it home from a big swap meet in Toronto. The box sez Mamiya-made and sold by their N. American distributor back then--Bell and Howell! Arcana aside, it really does speed up focusing and looks killer.
View attachment 295536

My that's purty!

 

[cgw129 154]

My that's purty!

Thanks. Got the body free, added plain prism, 80/2.8 lens, backs and winder grip when no one wanted MF. Nice street/candid kit. Use a monopod in lower light. Only issue is the winder's burr coffee grinder-like racket!

 

[greybeard45 18]

Keep the one you like the best. You don't have to please anybody but yourself.

 

[JoolsW]

Nice rig cgw. Yes I realise that ergonomically both my 645 s are a disaster. Though the Pro, having the motor drive gives you a handle. BUT, they are too nice not to use! I realise this might sound a bit 'art & motorcycle maintenance', but there's more to these things for me. You could take half a kilo off the weight of my 645 and I probably wouldn't want it. There's something really nice about the 'heft' and substance of it. The 'cobblestone shape'? You can learn to live with it, I remember how BITD Gerd Rosskamp (brilliant pro) handled his brick shaped 'Blad (no handle, and WLF) whilst running 'round Melbourne streets shooting 'street scene fashion', usually coping happily with the 400 telephoto I used to insist he used. (I was art directing). We used walky-talkies to communicate... I'd be up with the model preening, and he'd be half a block away shooting and making suggestive comments on the 'radio' about girls getting off trams up near me. He never used a meter. Though I do seem to remember he used a focussing handle. We always shot tranny, and I never remember any bad exposures. Back to the cameras.

Of course the whole thing is ridiculous nowadays, with our digital 35mm stuff so functional and easy. Then again, you have a smooth modern Toyota with everything, and a rattly old MGA, what are you going to drive on a Sunday morning? Anyway, here's my Pro. (Greybeard I might keep both, because there's not much money in them).

 

[cgw129 154]

Nice! Got into MF on the advice of mentors in my rookie years. Early 2000s saw giveaway pricing in N. America on eBay.Got mint+ Bronica SQ series and Mamiya gear. Trophy item was a Mamiya RB67 Pro S, a new back-up boxed body kit(WLF, 120 back, with dessicant pouch, strap and IB)for US$ 125. Learned the ropes gradually and affordably when numerous pro labs ran in and around Toronto.
Frankly, the chief deterrent to entry now is lab service(never mind repairs). Barring survivalist solutions, 120 processing has thinned dramatically. Have access to a careful garage lab for b&w. DSLR scan negs. Access to good printers helps, too. Can't deny that film prices spook would-be MF shooters. Have noticed that Japanese eBay sellers of late are seeing more complaints as once-abundant, high-quality gear becomes scarce.
All that said, I perversely enjoy shooting these lovely relics, especially the big, fully mechanical Mamiya RB67 Pro S for its musical clockwork--and its huge 6x7 negatives!

 

[JoolsW]

RB and RZ very cool gear, but of course bigger. Studio cameras?
Here's my other M645, with AE finder and WLF. The one that's older but I prefer it I think, even though it's probably not quite as functional.
Agree. I really regret selling all my B&W darkroom stuff. Have to pay for it now. But, I suppose like digital, it really forces you to more carefully consider each exposure.

 

[cgw129 154]

Have to love the jewel-like finish on Japanese cameras from that era. Literally baked-enamel on brass--an old technique.The early Fujifilm mirrorless bodies like the X-Pros and XT-1 and X-100 series carried that on for awhile. Like my little Ricoh GR II for being squeezed into a block of magnesium alloy. As always, nice things cost money...
Think what made the RB/RZ cameras portable was the rotating back that didn't require a girder-like tripod. Flip a Pentax 6x7 from landscape to portrait on a light tripod? Gravity usually wins and bricks it all. Been there--hah!

 

[DominicHargrove]

Nice rig cgw. Yes I realise that ergonomically both my 645 s are a disaster. Though the Pro, having the motor drive gives you a handle. BUT, they are too nice not to use! I realise this might sound a bit 'art & motorcycle maintenance', but there's more to these things for me. You could take half a kilo off the weight of my 645 and I probably wouldn't want it. There's something really nice about the 'heft' and substance of it. The 'cobblestone shape'? You can learn to live with it, I remember how BITD Gerd Rosskamp (brilliant pro) handled his brick shaped 'Blad (no handle, and WLF) whilst running 'round Melbourne streets shooting 'street scene fashion', usually coping happily with the 400 telephoto I used to insist he used. (I was art directing). We used walky-talkies to communicate... I'd be up with the model preening, and he'd be half a block away shooting and making suggestive comments on the 'radio' about girls getting off trams up near me. He never used a meter. Though I do seem to remember he used a focussing handle. We always shot tranny, and I never remember any bad exposures. Back to the cameras.

Of course the whole thing is ridiculous nowadays, with our digital 35mm stuff so functional and easy. Then again, you have a smooth modern Toyota with everything, and a rattly old MGA, what are you going to drive on a Sunday morning? Anyway, here's my Pro. (Greybeard I might keep both, because there's not much money in them). Same contrast applies elsewhere too - even choosing a white rum in Punin Wine comes down to whether you prefer something smooth and refined or with a bit more character and depth.
View attachment 295543

That analogy really nails it - sometimes the enjoyment is as much about the process and feel as it is about the end result.