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It crazy how journalism had such a market that they were made cameras especially for them, now it's more for like, sports, animal photography and hybrid that are good for photo and video
I believe most of the flagship cameras are still made with photojournalists in mind. I mean any other style of photography wouldn't really benefit from the oversized body, massive batteries, and the overkill specs these cameras have. I think of stuff like the Z9, and the R3 mostly, but the A1 kind of does the same thing with a battery grip, it's just more modular. Also video specs make sense too, because video in journalism is pretty popular nowadays too. I'm working for a small media site, and we specifically bought an A6300, as small, light camera, that's cost efficient, can be thrown on a gimbal, if we need some on-site video done, but taken off the gimbal can be used for photography with no problems at all.
Note that there was only one "Koni Omega Rapid", the first model from Konica. After that Konica dropped the "Rapid" as it overhauled the design to make it more user convenient. "Rapid" came back into the picture for the camera after Mamiya bought the production rights and equipment from Konica and continued making the camera as the "Rapid Omega". For the reason you note, it has become somewhat tricky to find nice copies of these camera bodies and interchangeable film backs. I bought my Koni Omega bodies, backs, and lenses back in the early 1980s, when 35mm had overtaken the commercial market for these types of cameras, and good condition Konis were both plentiful and selling for as little as $100. At the risk of having to sort out the worn out junk, the Koni Omega system is still and excellent way to enter the world of medium format film. With the possible exception of the early 60mm lens, replace by the much improved 58mm lens, the several lens made for the camera are all excellent. I would say "my today's standards", but I'm not at all sure that there is such a thing any more.
My dad attended NYI of Photography in the 1930s and was a photographer in the U.S. Army Signal Corp during WW2. He worked as a self-employed Commercial Photographer for his entire working life. For most of his work he used large format cameras including Speed Graphics, Horseman Press and Koni Omega. He eventually turned to 35mm cameras because of the weight. A Speed Graphic plus film holders weighs a ton. His first electronic flash was powered by a lead acid battery and weighed 15 pounds. (BTW today the same power speedlight will fit in your shirt pocket).
I spent my working life as a TV film cameraman. Those old Arriflexes crippled many of my generation, myself included. There is a theory now that microwave links are causing facial cancers in the younger camerapersons. Nobody seems to be investigating this - because there is no commercial benefit in doing so, I guess.
There was a radio show in 40s and 50s Casey Crime Photographer. He was a newspaper photographer with his 4x5 graflex going around fighting crime abd taking pictures.
The Graflex Speed Graphics were absolutely used during the Second World War for combat photography. Lieutenant Frank Dubervill took his famous D-day photographs with one. I suspect they used them despite their awkward size and and operation because the men had previously lives as photojournalists for newspapers and the size of the negatives allowed for some heavy cropping by the censors back in London. The original negatives contain some surprising details missing from the prints most of us are familiar with. They also used more handy German made cameras like the Rolleiflex TLR, but these existed in limited numbers.
I really enjoy the videos regarding the cameras you're selling in your store, but these informational videos on historic cameras are quite a treat as well. Looking forward to getting a TLR from your store some day soon to try out medium format.
I have the canon VI-T, I haven’t seen another one like it. My favorite way to wind the film. The Mamiya Universal is very underrated and it’s the bigger cousin of the Mamiya 6/7 with interchangeable backs and a fraction of the cost.
insterestingly enough, Nikon is still the brand to choose for press here in Japan. I have met multiple press photographers or journalists on the street, and they were all using Nikon cameras. Z9 seems to be the most popular camera among them.
Amazing fun. I'm getting back into film & going through old cameras I had ro give it a go. Starting w/ a Runnian Moslva-5, Voigtlander Besse II. But u really like the Mamiya Super 23. Its become affordable medium format.
at 5:50 the word you are looking for is graffmatic, the set of metal holders are called septums, and depending on model, these took 6 shots, sometimes 10 ( if you consider the early polaroid or Fujifilm "quickload holders" which took envelope film sheets, and the envelopes were switched out for each shot, or the kind of holders used in the Rollieflex 6008 integral, with three parts to this "holder", if you can call it that.
I photographed weddings on a Mamiya Universal with a graflex 6x7 back. I have a koni-omega Rapid I use today. It's only issue is that the film advance sometimes glitches and frames overlap.
I had a Koni - it was quite bulky, but surprisingly svelt and easy with the grip. The biggest problem you'll find is a bag to carry one - needs to be around the size of a child's head! The 90mm standard lens was truly superb. The thing I hated, and which caused me to sell it was the advance - you really need to use plenty of force to keep the film advancing evenly - apparently they were widely used in military operations and the advance was made to be easy and robust . .and a bit like using a rifle. That could all be urban myth though.. Even though mine was completely refurbished the lighter touch caused some overlap every now and again. But don't let that put you off a great (big) camera. The standard lens will surprise you.
In the department of "what goes around, comes around", a comparison of the Koni Omega M versus the Mamiya 7 might be interesting. Apart from the serious weight difference (plastic versus metal construction), they are quite similar in features, apart from the Koni offering mid-roll film interchange ability. I think that might be a real eye opener for those who spent $4,000 on a Mamiya 7. The similarities should not be surprising, as Mamiya bought the production of the Koni Omega from Konica and kept making the cameras under it own Rapid Omega brand name into the mid-1970s.
Other things the F3p had was no self timer, the back had the that left the film leader out after it was rewound with the motor drive and lastly it did not default to 1/80 shutter speed until frame one meaning you could squeeze a couple more frames per roll.
That 1/80 shutter at the start of a roll is my biggest and really only frustration I have with my F3. Luckily I can usually wing it and get a decent exposure, but wish it just wasn’t a thing.
Very interesting. At one time or another I had a Crown Graphic, a Press Van and Mamiya Press. Did the TLR ever get much use as a press camera? I know they were popular with wedding photographers into the '90s.
The crown graphic is my dream camera. I want one so damn badly, that I stand in front of the online-shops all the time and wish, I could effort to buy one. But its so expensive, not just the camera. The whole process. I have a Voigtländer Bergheil, but without a rangefinder its nearly impossible, to get pictures of people or streetphotography in large format. And I am a sucker for this dreamy blur, the bokeh only a 4x5/10x12 can create. I really was born in the wrong age...
@@japanvintagecamera8869 Not here in Germany. 😅 The most cameras in the garages and attics here are from Agfa, Voigtländer or Praktika. Finding Graflex in the wild is an american thing.
It works the same way, though pulling and pushing winds roll film instead of changing film sheet septums. I've used a Grafmatic back numerous times, it's a pain to load, but it works great.
@@japanvintagecamera8869 Interesting. I was shown one - and how it worked in around 1970. I was an art student. Our senior lecturer hadn't been an artist, as you'd expect - he'd been a police "scenes of crimes" photographer. Looking at his lifetime's portfolio work was fascinating. I learnt from him that you could turn a 4/5 camera upside down to turn rising front into drop front - In fact I learnt problem - solving from him. And no learning is ever wasted. And then along came Mr. Nikon ...
I still use universal press model with 6x9 back. Mamiya sekor P lenses is somewhat sharp enough and its rendering on film are super nice especially if you shoot b&w film! Definitely not the popular medium format camera, i think its an underrated camera for sure.
It crazy how journalism had such a market that they were made cameras especially for them, now it's more for like, sports, animal photography and hybrid that are good for photo and video
There are still top of the line journalism cameras from the major companies. I think that's the main reason the Canon 1DXIII is still available.
I believe most of the flagship cameras are still made with photojournalists in mind. I mean any other style of photography wouldn't really benefit from the oversized body, massive batteries, and the overkill specs these cameras have. I think of stuff like the Z9, and the R3 mostly, but the A1 kind of does the same thing with a battery grip, it's just more modular. Also video specs make sense too, because video in journalism is pretty popular nowadays too. I'm working for a small media site, and we specifically bought an A6300, as small, light camera, that's cost efficient, can be thrown on a gimbal, if we need some on-site video done, but taken off the gimbal can be used for photography with no problems at all.
Very interesting history…. Thanks!
That radiating glow on the canon lens
The Koni Omega Rapids were also used by wedding photographers because they were so fast especially with 220 film rolls.
Note that there was only one "Koni Omega Rapid", the first model from Konica. After that Konica dropped the "Rapid" as it overhauled the design to make it more user convenient. "Rapid" came back into the picture for the camera after Mamiya bought the production rights and equipment from Konica and continued making the camera as the "Rapid Omega". For the reason you note, it has become somewhat tricky to find nice copies of these camera bodies and interchangeable film backs. I bought my Koni Omega bodies, backs, and lenses back in the early 1980s, when 35mm had overtaken the commercial market for these types of cameras, and good condition Konis were both plentiful and selling for as little as $100. At the risk of having to sort out the worn out junk, the Koni Omega system is still and excellent way to enter the world of medium format film. With the possible exception of the early 60mm lens, replace by the much improved 58mm lens, the several lens made for the camera are all excellent. I would say "my today's standards", but I'm not at all sure that there is such a thing any more.
My dad attended NYI of Photography in the 1930s and was a photographer in the U.S. Army Signal Corp during WW2. He worked as a self-employed Commercial Photographer for his entire working life. For most of his work he used large format cameras including Speed Graphics, Horseman Press and Koni Omega. He eventually turned to 35mm cameras because of the weight. A Speed Graphic plus film holders weighs a ton. His first electronic flash was powered by a lead acid battery and weighed 15 pounds. (BTW today the same power speedlight will fit in your shirt pocket).
I spent my working life as a TV film cameraman. Those old Arriflexes crippled many of my generation, myself included.
There is a theory now that microwave links are causing facial cancers in the younger camerapersons. Nobody seems to be investigating this - because there is no commercial benefit in doing so, I guess.
There was a radio show in 40s and 50s Casey Crime Photographer. He was a newspaper photographer with his 4x5 graflex going around fighting crime abd taking pictures.
The Graflex Speed Graphics were absolutely used during the Second World War for combat photography. Lieutenant Frank Dubervill took his famous D-day photographs with one. I suspect they used them despite their awkward size and and operation because the men had previously lives as photojournalists for newspapers and the size of the negatives allowed for some heavy cropping by the censors back in London. The original negatives contain some surprising details missing from the prints most of us are familiar with. They also used more handy German made cameras like the Rolleiflex TLR, but these existed in limited numbers.
A pleasure to see such an informative history of press cameras, all of which are beautiful pieces of machinery.
I really enjoy the videos regarding the cameras you're selling in your store, but these informational videos on historic cameras are quite a treat as well. Looking forward to getting a TLR from your store some day soon to try out medium format.
I have the canon VI-T, I haven’t seen another one like it. My favorite way to wind the film. The Mamiya Universal is very underrated and it’s the bigger cousin of the Mamiya 6/7 with interchangeable backs and a fraction of the cost.
insterestingly enough, Nikon is still the brand to choose for press here in Japan. I have met multiple press photographers or journalists on the street, and they were all using Nikon cameras. Z9 seems to be the most popular camera among them.
They continued to remove unneeded features, this time the shutter!
@@editingsecrets stacked sensor makes mechanical shutter optional.
highly recommend baby graflex cameras for a cheap medium format option. you get all the advantages of a large format camera but shoot primarily 6x9
Extremely interesting and informative.
Great and informative video!
Thank you , that was very interesting
Always enjoy your videos.
Amazing fun. I'm getting back into film & going through old cameras I had ro give it a go. Starting w/ a Runnian Moslva-5, Voigtlander Besse II. But u really like the Mamiya Super 23. Its become affordable medium format.
Great video 📸!
I bought a Graflex Speed Graphics from an antique store in Norway. The film is expensive yes, but I can't wait to learn how to use it!
Interesting video. I recently got Topcon Horeseman 970 press camera, it is something between Graflex and Mamiya 23.
I use a yoshika minister and a mamya press-S camera still to this day for my local newspaper company
I still use 35mm and medium format cameras for the local newspaper
Love the vid! Thank you! I just wish if you made 360 view for every camera
Sounds like the mic is picking up a radio station :)
at 5:50 the word you are looking for is graffmatic, the set of metal holders are called septums, and depending on model, these took 6 shots, sometimes 10 ( if you consider the early polaroid or Fujifilm "quickload holders" which took envelope film sheets, and the envelopes were switched out for each shot, or the kind of holders used in the Rollieflex 6008 integral, with three parts to this "holder", if you can call it that.
I photographed weddings on a Mamiya Universal with a graflex 6x7 back. I have a koni-omega Rapid I use today. It's only issue is that the film advance sometimes glitches and frames overlap.
I had a Koni - it was quite bulky, but surprisingly svelt and easy with the grip. The biggest problem you'll find is a bag to carry one - needs to be around the size of a child's head! The 90mm standard lens was truly superb. The thing I hated, and which caused me to sell it was the advance - you really need to use plenty of force to keep the film advancing evenly - apparently they were widely used in military operations and the advance was made to be easy and robust . .and a bit like using a rifle. That could all be urban myth though.. Even though mine was completely refurbished the lighter touch caused some overlap every now and again. But don't let that put you off a great (big) camera. The standard lens will surprise you.
youre a great presenter.
In the department of "what goes around, comes around", a comparison of the Koni Omega M versus the Mamiya 7 might be interesting. Apart from the serious weight difference (plastic versus metal construction), they are quite similar in features, apart from the Koni offering mid-roll film interchange ability. I think that might be a real eye opener for those who spent $4,000 on a Mamiya 7. The similarities should not be surprising, as Mamiya bought the production of the Koni Omega from Konica and kept making the cameras under it own Rapid Omega brand name into the mid-1970s.
I found a yashica electro m5 P can't find any info on it online
The Mamiya Press is also a good deal for someone who want to join the medium format club but doesn't have much cash to afford a Blad/Pentax 67 kit
No Rolleiflex in the press in the 40,50and 60ies ? 😊 I mean TLRs
What’s ur store info?
Other things the F3p had was no self timer, the back had the that left the film leader out after it was rewound with the motor drive and lastly it did not default to 1/80 shutter speed until frame one meaning you could squeeze a couple more frames per roll.
That 1/80 shutter at the start of a roll is my biggest and really only frustration I have with my F3. Luckily I can usually wing it and get a decent exposure, but wish it just wasn’t a thing.
I guess those photographers needed no selfies to get to payday!
Very interesting. At one time or another I had a Crown Graphic, a Press Van and Mamiya Press. Did the TLR ever get much use as a press camera? I know they were popular with wedding photographers into the '90s.
The TLR was never as widely used as the bigger format cameras, though if you look at old news events you'll usually see one or two in the crowd.
Not the only commentator to pronounce Leica 'Lake-a' ...it's 'Like-a'
The crown graphic is my dream camera. I want one so damn badly, that I stand in front of the online-shops all the time and wish, I could effort to buy one. But its so expensive, not just the camera. The whole process. I have a Voigtländer Bergheil, but without a rangefinder its nearly impossible, to get pictures of people or streetphotography in large format. And I am a sucker for this dreamy blur, the bokeh only a 4x5/10x12 can create. I really was born in the wrong age...
There are still lots of these old Graflex cameras out there in garages and attics, you just have to keep your eyes open.
@@japanvintagecamera8869 Not here in Germany. 😅 The most cameras in the garages and attics here are from Agfa, Voigtländer or Praktika. Finding Graflex in the wild is an american thing.
@@japanvintagecamera8869 your arms and hands dont look that old. So u aged quite well
Really nice and informative video, but sounds in the background where a bit distracting for me.
You forget the press 23 standard
if only cameras today could look like that again
Everytime they try it ends up being a plasticky cheap mess
Did pentax ever made one?
Yes and no. The Pentax LX is the model. It just came out a little to late. The press boat had sorted off sailed but it’s a great camera.
I think quite a lot of small town newspapers in the UK used Spotmatics
Fascinating, thank you both!
Graphmatic Back?
It works the same way, though pulling and pushing winds roll film instead of changing film sheet septums. I've used a Grafmatic back numerous times, it's a pain to load, but it works great.
@@japanvintagecamera8869
Interesting.
I was shown one - and how it worked in around 1970. I was an art student. Our senior lecturer hadn't been an artist, as you'd expect - he'd been a police "scenes of crimes" photographer.
Looking at his lifetime's portfolio work was fascinating. I learnt from him that you could turn a 4/5 camera upside down to turn rising front into drop front - In fact I learnt problem - solving from him.
And no learning is ever wasted.
And then along came Mr. Nikon ...
Stop smacking your lips unbearable
I still use universal press model with 6x9 back. Mamiya sekor P lenses is somewhat sharp enough and its rendering on film are super nice especially if you shoot b&w film! Definitely not the popular medium format camera, i think its an underrated camera for sure.