Mamiya Press Super 23, Honest Review - and a special guest
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- čas přidán 29. 08. 2023
- Here is another unique and slightly odd camera from Mamiya, the Mamiya Press Super 23.
I recommend that you watch our video on Mamiya C3 Professional first, as it is a fun prequel to this video.
Mamiya Press refers to a series of medium-format rangefinder cameras manufactured by Mamiya from 1960 to 1991. Nikon F 35mm SLR was introduced one year earlier in 1959. You will remember the amazing innovations and advances that Nikon unleashed on the camera industry even before the first of these Press Cameras came out.
The original Mamiya Press Deluxe was followed by Press G, S, 23 Deluxe and Press 23 Standard. This one, the Mamiya Super 23 was introduced in 1967, 8 long years after Nikon F. The Chief Designer was Mr Seiichi Mamiya.
The final model of the series was Mamiya Universal introduced from 1969 to 1991, almost approaching the digital era.
Mamiya Universal was a simplification of Mamiya Super 23 with several features removed. So, we can say this strange beauty, the Super 23, is the most advanced version of the Press camera produced by Mamiya.
This was a great review, and I anxiously waited for each turn of the corner where the next, perplexing, seemingly unusable feature is unveiled. Thank you. It’s almost as if this is “anti-design” and defies the normal user to master its use. This would be the kind of camera with a piece of paper, scotch taped to the top, with order of operation spelled out for the poor pool photographer that had to use it. I am going to be on the look out for one to add to the home museum.
The Mamiya 23 series of cameras was not inspired by the Linhof Press cameras, as suggested. Rather, it is a nearly direct copy and derivative of the Graflex XL press camera series. They share a modular design consisting of separate body shells, interchangeable lenses, and interchangeable backs in various roll film formats. The XL takes standard Graflex roll film backs, so they are quite a bit more compact than the unique Mamiya backs, which stick out all over. They both offered limited accessories, including close up devices, which were quite impractical. They share the same lack of integration, meaning that every function is a separate operation. The lenses mounted for the XL were the best available at the time, making the system significantly more expensive. The Mamiya lenses are adequate for their optical needs, but generally of lower performance compared to other medium format optics of the day. Graflex used a lot of plastic in critical parts of the XL system, largely untested at the time, which structurally failed over time. Between its high initial cost and its material flaws and failures, XL bodies and lenses are some=what rare today, and when found are likely to be defective. One competitor back in the day was the Konica Omega system, which has a similar body appearance, most having interchangeable backs, and interchangeable lenses. The Konis offer only 6x7cm format. As a system camera, the components are much more integrated in their operation, and by far the fastest operating camera of their type. The Koni lenses are optically superior to the Mamiya, but fewer and present a narrower range of focal lengths. Overall, the Konis are much more robust and better built than the XL or Mamiya models.
I have 2 varieties of the mamiya press cameras, and they are my favorite medium format so far! No system is more flexible, from the multiple size backs (from 6x4.5 to 6x9) to ground-glass viewer to use with cut film (6x9). I'll have one back with b&w and the other with color film - it's easy to switch thanks to the dark slide. Also, the bellows back allows for precise adjustment of focal plane and perspective correction. From what I understand, print magazines would only accept larger negatives for publication, this was the original niche of the press cameras. You took some wonderful shots with the super 23! The 50mm lens is a great lens (not one I've used, but I like the 75, 127 and 150). This is a great camera thanks to its flexibility, but an endless source of frustration if you're not into deliberate, careful photography. Is it worth the effort? I think so, but certainly understand this system isn't for everyone.
Nice photos!
You missed out on the 65mm, 90mm and 127mm lenses for some explicable reason.
Hey first off,
What are my lens mount options? Can I adapt to other Mamiya or like lenses? What about a 645 mask or back?
Awkward camera to use but the 6x9 negatives make it worthwhile. Have an original Mamiya Press and that is even more "interesting". The 6x9 back has red windows so it will take 6x6 and 6x45 assuming you have loaded the relevant mask in the back before loading the film. There was also a corresponding format mask for the viewfinder. The old backs had a wind on knob on the left hand side as opposed to the right side lever of the later ones. It makes winding on fun. There were other lenses available. Mine has the 90mm f3.5 but only has built in viewfinder masks for the 90 and 150mm.
TH, What an enjoyable video! Also, what a monster of a camera. What about the Koni-Omega? How does it stack against the Mamiya 23? Seems like the M23 was made to occupy a niche between the 4x5 Speed Graphic and the Hassselblad. And designed to combine the difficulty of a 4x5 press camera with a dubious (not fully thought out) modularity that didn't quite rival nor mimic the Hasselblad. Of course, we have to be fair to Mamiya-san; who knows what hurdles he had to overcome to produce this camera? That being said, Mamiya medium format cameras were built to last and with good optics, IMHO. Since I used 35mm, 6x6 (Hasselblad and Mamiya C3), and 4x5 (mostly monorail) cameras in my commercial work, the 4x5 shooting habits transferred easily to the Mamiya C3, though I seldom took the Mamiya out of the studio. I think the best feature of both Mamiyas--C3 & 23--is that you see the subject at the moment of exposure--not so with SLRs.
Another question - I am thinking of buying either the 50mm or 75mm lens for my Super 23. Do you know if both of these have flash sync. I have a Metz 45-CT1 hammerhead flash with the wide angle diffusor and am thinking of a lens for architectural interiors. The 100mm lens I have is a bit too narrow for that purpose.
I'd be astonished, if given the choice and 6x6 negatives were a must, that a press photographer would chose this monster over something like a Pentacon Six or a Bronica S with a prism finder, considering that both of these are about 1kg (2 lb) lighter and have the SLR advantage of TTL focusing.
The less communication between parts, the less there is to break.
Anyone got any suggestions for a neck strap for the 23. I had hoped that the clip into slot type strap for my Rolleiflex 3003 would fit but the lugs on the Rolleiflex have a wider slot than those on the lugs on the Mamiya Super 23. As an elderly arthritic, I am finding the camera with the 6 x 9 roll film back very heavy on my very gnarly hands and a neck strap would make the camera feel a bit safer to lug around. This is particularly when I am on my mobility scooter, where I need both hands to drive and work the power/forward/reverse levers.
maybe go over how quickly this camera can focus? how sharp the images are compared to its competitors both in medium format or 4x5? its hard to set up a shot but only one picture makes it onto the magazine, so how about review how well it takes that once picture? what applications would this suit better?
I like to buy things that make me do all the work lol 😂🎉
Try a 6x9 type iii back.
No surprise nikon wiped them out