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I came to the Mamiya 26 Standard when my RB67 Pro S gave out and the fix was more than the body was worth. A good friend of mine had the Standard with a 90mm f/3.5 lens 3 6x7 backs and some other things. The camera had been used by a couple for many years to shoot nudes and boudoir type photos, it sounded like they were the original owners. Anyway it was easier to get familiar with it coming from the RB67. I zone focus it quite often but thankfully the rangefinder works good. The aperture adjustment on mine was all but unadjustable it was so gunked up. I think it cost me as much to get it cleaned as the camera did, but now it works smoothly and what a blast to shoot with. I was surprised to see the differences between your camera and mine though. If I come across a 65mm I can afford I'll know to make sure it is for this model. Thanks for the video. (I watched the video of you shooting it in the fields that gave me incentive to get out and burn some film.
I love the left handle because it allows me to balance the camera with both hands, putting a strap on this makes it easier to handle than my rb67 and Pentax 67. One main issue I have had is the photos have been soft on the 75mm lens, maybe the 100 mm will inspire me to use it more. I also have the 250mm lens but I haven’t had the right project to bring it out yet. I thought about selling but realized a lot of 3D printed cameras use these lenses so having the option of using a smaller camera body is what I love about the film photography community.
Great video. I love your videos and the pace of them. I have had a Universal for a few years and fell in love with it. I have the 100 3.5, a 65, and the 127 lenses. I have to say the 100 is fantastic and the 65 might be the sharpest wide-angle lens I have used on any camera system. Mamiya glass is special. I am interested in the 100 2.8 and look forward to you shooting more and sharing. I didn't know the back with a shutter release existed. I haven't shot much hand-held with mine and just lived with the backwards focusing and shutter release handle. Keep up the great content. Always look forward to seeing one of your videos drop.
@@RobbieMaynardCreates I am not an expert at camera repairs, but it didn't seem too hard from what I remember. I watched the video below a few times and took my time. I bought the ground glass back and used it as a reference to make sure it was accurate at both close and longer distances. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FkVzIOZT75U.html
@@mikehessphotography I used that video to help me make some minor fixes. I ended up cutting an old ground glass to fit on the back of my film back to check focus which was helpful but its so far off on that camera body for some reason
@@RobbieMaynardCreates wish I had the answer. I looked at my ground glass back and film backs. The only variable I can think of is if the glass you used was facing right way. Ground part of glass facing the lens, smooth facing you? Other that that, my brain is tapped out.
I've got one and it's my favourite camera in my collection. I lug it around all of the time and it's never let me down. It has the bonus of drawing peoples attention and ive had some great conversations because of it.
I started paying attention to this camera because it can be retrofitted with a 3D printed Fuji Instax Wide photo paper back, which is a great combination.
Got one of these off craigslist years ago when I first started getting into medium format and higher quality instant film. I have largely abandoned it in favor of my hasselblad due to the weight and form factor, but that type 3 back really sounds intriguing! Thanks for sharing that info, I'm gonna look into that! I can hear the depths of camera knowledge in your explanations, great video!
Great video. I not long ago got a Mamiya super 23. I quite like the left hand grip but it makes the whole thing even bigger. The 23 has a bellows for tilt and shift and mine came with a ground glass back, all I need now is some sheet film holders. The other thing I want to do and haven't got round to yet is putting 35mm film in the 6x9 back and having a 24x90 Xpan. Then I will have to get a wide angle lens for it., its never ending this GAS. Looking forward to seeing more videos of it.
Looking forward to seeing more Robbie; that universal you have looks cosmetically mint! I’m used to shooting uncoupled folding camera 6x9 so winding on immediately after shooting is second nature and something I do with everything now. Thanks for the heads up on the cable for the type 3 back; I didn’t realise the scarcity - or consider the need to ensure the backs came with the cable. I’ve seen few videos where they’re really being used in the field, and those I have seen show the shooters inserting the dark slide between each shot which strikes me as a bit overkill? You mentioned the Chroma bodies; there’s also a body available which is much more like the Mamiya body without rangefinder available - it just couples most backs and accessories to most lenses, which has some definite appeal.
I am definitely interested in an alternative body, which, like I said is a huge pro to getting these lenses. I honestly leave the darkslide out now so that I dont make any mistakes. Even with the type 3 back having a fail safe, I always assume that I made a mistake and hand fire the shutter which leads to a blank frame. Also, Ive seen people miss shots because of the lens cap being on... screw that lol
I used to love this camera and owned it for some time but had to sell it when I was trimming down my gears a couple years back. Amazing versatile camera if you dont mind the size and weight. Actually the weight helps when you shoot in lower shutter speeds. You can even get graflok back and use the old graflex backs(6x8,6x7, dirt cheap) if you have them around. William Eggleston used the silver body or might be similar Super 23 if I remember correctly.
I owned a Mamiya Universal at one point and I more or less had the same issues with it being too bulky and accessories being hard to find/stupidly expensive. My experience was still wonderful and I wish I kept my lenses because now there's 3D Printed bodies which make the shooting experience so much better. You can really lighten up the kit that way especially since you already zone focus
Was searching some info just bought the same setup as you have (lens camera) but you mentioned the back and must say never knew about that type back. See it know as a Fuji 690 but then different. The side handle I also find so so was the reason never go into this system but with that back it holds more like a graflex/nikon F camera ish.
Dayum, thanks for alerting me to the type 3 back...now i want one....also wow your repair skills are top notch, I'd be terrified to service a helicoid. But yeah condition is all over the place. Recently I grabbed a Universal and the 75mm lens (gorgeous piece of glass at least physically), and while testing it in the parking lot i noticed the rf patch didn't focus to infinity. Luckily the seller had a 2nd lens he parted with instead (he'd never tried the lens on the body before). The system got used a lot so stuff can be worn out but also today people all either don't actually use such a heavy thing and just sell it on or use it differently than you might so faults just creep in. I also bought a Press 23 a while back because I thought the ability to tilt the back was neat. Honestly felt shammed with the two rolls I have put in thus far since i haven't made any good photos lol, my og back was super light leaky so i messed a roll, my new back is probably? fine but I sure did not nail the focus with that 100 f/2 even at f/4 lmao. Still the versatility of this system can't be matched. You can also buy a groundglass to focus more accurately, even a right angle finder for the groundglass (just don't be an idiot like me and assume it can fit onto the regular hooder screen holder like i did...oops) It is also great that lenses you buy here are often used for more boutique/diy cameras. I use the 50mm on Chroma CupePan for example to take really wide panoramas on 35mm (aside: wow I just checked but the new version of that camera looks so good..i am jelly.) Big fan of the 50 in that it's not stupid rare like the Fuji 50 (for the older gl690 cameras) and is supposedly a very good albeit slow lens. Another thing I want to try (and I why I got the Universal despite having the 23): there are some good instax wide backs now available for it so that's the closest mortals like me can get to the peel apart experience.
All those points are part of the reason why I love the camera and hate the camera. Theres a lot of versatility with it like the Chroma line of cameras and shooting polaroid film and fuji wide. I was looking at the 50 as my next lens but I want to feel the camera out a bit more to see if its worth adding another $250+ lens to the equation. I have a buddy who has the lens and two paralax viewfinders for it so I can buy the lens and buy the finder for him. Did you think that the 50mm viewfinder is necessary?
@@RobbieMaynardCreatesoh darn yt might have eaten my first reply. I'd say it is a solid idea to get the viewfinder. You can approximate the view a little with a viewfinder app but at least on my phone it isn't wide enough (my phone says 63mm on 6x9). You can also get a 21 or 22mm viewfinder for 35mm cameras. I think the parallax tough could be a bigger issue here because how tall the camera is. The viewfinder looks quite a bit down when you rotate the distance dial for parallax I will say it is a fairly bulky viewfinder so if you are in a 'this camera is already my limit' kinda mood you might just find yourself point and shooting with the 50 lol (thank god it is rangefinder coupled at least).
That's a great looking Universal and back. I've been thinking about getting one... The other day while using my Toyo Field 45A, I wished I could use it handheld with a rangefinder, which made me think of the Mamiya Press cameras. That 100/2.8 lens looks in mint condition... I love the cursive legends on the Mamiya Press and first series RB & M645 lenses. I have a Mamiya RZ67 Pro II and 645 Pro TL -- I love the RZ, but the 645 is much easier to pack up and take places. Although for better or worse, it does attract a lot of attention. lol
Interesting video, I had never heard of that camera, looks very heavy, I definitely couldn’t manage one!🤣 Looking forward to seeing your results as you use it more.
I've owned this camera several times over the years. (My nickname for it was "The Albatross.") The 75mm is also a wonderful lens--I still have framed pics made with it Have fun!
I had one of these as a "cheap" way into larger 120 film format. But in the end, wasn't a fan how it feels in the hands. Too big and cumbersome - especially compared to alternatives (Fuji 6x9 RF....) I didn't get the F2.8 lens - which is "only" just a 50 f1.4 in full frame terms, I think I got the F4.5 or 3.5. I also looked into that filmback with built in trigger but they were indeed too step in price - more than I paid for the camera. But even the "normal" 6x9 back without that shutter button was a beautifully engineered piece of equipment, felt very solid. It's considered one of the best film backs ever made, with excellent consistent flatness of the frame - which didn't doubt for a second. They were also used with a ground glass at the back and on a tripod, where you remove it after focussing (landscape or portrait obviously) and put the filmback on it to take the photo. Like a mini large format camera. For a moment I was thinking about building a Frankenstein version of it, with a 6x7 back (smaller size, cheaper on film) that can rotate - which could mount on the back with an adapter. But eventually sold it to get into my current Pentax 67 system, got all my money back. It was cool to toy with it and hold a piece of history - many journalists used these and the older versions are still seen in movie scenes in period pieces. The typical red carpet scenes or scenes were politicians or criminals are escorted out of a police station. Very iconic.
I got one last year and have only used once so far to test. I messed up about a third of the roll with blank shots. Mine could use the viewfinder cleaned, it's a bit hazy.
You'll want to eventually pick up the equally incredible 50mm f/6.3. Just like the 100mm f/2.8 is a planar-like design, the 50mm f/6.3 is a Biogon design and is brilliantly sharp and makes for a really lovely ultra-wide (21mm equivalent to 135 format).
It looks so comically large when you bring it to your face lol A year ago I was considering this camera as an alternative to the Mamiya 7 because I didn't want to put so much money into a single camera, but omg it's much bigger than I ever imagined! I am very curious about the image quality of that lens though
the comment about the 6x9 paired with a 2.8 lens... "almost nothing in focus" yeah cause that DoF is razor thin... gad though that the Mayima Press is getting some YT love. Always thought of picking one up but never did. Will be interesting to see a long term review after you've got used to it.
I bought a Super 23 locally a while back. Shot a few rolls with it, but it just wasn't for me. I didn't shoot with it much so I decided to sell it. It was "damaged in shipping" according to the buyer. But I think he destroyed it. I regret it. I should've just held onto it. Selling the parts from it now. Thankfully I'm happy with my Bronica SQ-A and Fuji GW690II
Does the Mamiya have the frame lines for 6x7 and 6x9? i have the polaroid 600se which is the clone and shooting 6x9 without the frame lines (frame lines were only for packfilm) is difficult.
Robbie, don't do this to me. That's exactly the camera that's been on my mind for a long time now as a "some day" sort of thing. That lens looks lovely....maybe I'll just pop over to the 'bay....
Man I don't care a thing about that old, busted Mamiya. What I want to know is how you did that flawless opening shot of the camera. It was so steady I thought it was a still frame, and then I saw the reflection in the glass. Is it just a slider shot with rotation movement in post? Liked and subscribed. Great video!
I hope he enjoys using his Mamyia Universal. It was the final model in a series of similar cameras. The large, bright viewfinder/rangfinder system is the best part of it. The video is not quite correct in remarking that this was a unique system or design. Coming out more or less at the same time in the mid- to later 1960s, there were at least three, all quite similar in function: the Graflex XL, the Mamiya 23, and the Koni Omega. They were all boxy medium format rangefinders, modular in the sense that they had interchangeable lenses and film magazines. All had accessories like ground glass focus, close focus without ground glass, and other minor conveniences. The Graflex XL was little used and a commercial failure, being somewhat fussy in use, made of questionalbe design and materials, and hugely overpriced. It's sparkle was the provision of a large (more than any other) selection of the very best lenses then made in the world at the time. The Mamiya has the same fussiness of the XL, including the risk of missed frames or double exposure mentioned in the video. The Mamiya lenses were more than sufficient, but were probably the lowest performance among the systems. The Koni Omega, particularly the "Rapid M" version, came a bit later and put it all together. More compact body, superb lenses, full intergration of system components with double exposure prevention that worked, more robust than the others (but a bit heavier), and unique film advance system, very fast working, with internal shutter cocking. All three camera bodies used a left hand side-grip with incorporated shutter release by cable, so that is not unique to the Mamiya, but standard to all. I briefly owned an XL system in the eqrly 1980s, the worst mistake made in a long career of camera shopping, and a complete Koni Omega system, which I still have if almost never use. A good friend elected Mamiya, which I think he liked and still has on hand.
Thanks for the info, Randall. These were the biggest commercial success of the three you mentioned. I have always like Mamiya glass so maybe I am bit biased on the performance of their lenses but ultimately, I only have one lens for this system so I can't really comment on the others. Fuji really did it right with their 6x9 cameras by making it as easy as possible to shoot but there are pros and cons to every system.
@@RobbieMaynardCreates Right! The Mamiya was quite popular for a decade or so, and it was one of the least expensive (if not cheap) paths to medium format for a professional. When I was dealing with these, the 1980s, all three were available used. The XL bodies, lenses and bits, disappeared by the 1990s. The Koni Omegas were around commonly into the 2000s, but are fairly hard to find in good condition now, and the accessories and less common lenses are hard to find. The Mamiya cameras and lenses are still fairly easy to find, and as of a few years ago, not that expensive to assemble. I look forward to seeing how this Universal grows on you. These systems are so easy and convenient to use, that in my case, I find myself leaving my Pentax 67 rig and grabbing the KO if I don't need an SLR.
Wow, first video I´ve watched and hooked. You put so much effort into everything❤🔥Are the synth sounds from you as well? They fit so well and feel so right in the context. Can you please release a video about your postprocessing? Greets from Munich, Germany! Subscribed✔
Cheers buddy! Happy to have you :) Developing is so boring to record. I tried it once and I hated it. I spent most of the time trying to clean the bathroom to look pretty and then realized my tripod barely fit into the bathroom. Our house was built in 1894 so the bathroom is like a closet lol
regret selling mine... I had the wide lens (forget the focal length) the 90mm that came with it. The 6x9 back. 6x7 back. Plus a polaroid back and a fujifilm instax back. Kind of a dream setup for this camera. Oh well.
