Medium format 6×7, all your 2018 options

Medium Format is the bee’s knees for film shooters. It’s where you can shoot film and rival the image quality from digital files, while retaining the signature lower contrast film look. And did you know that 6×7 is the designated press and artist’s format! This article extensively discusses your 6×7 options!

What’s the deal with 6×7 medium format?

The format was dubbed ‘The Ideal Format’ back in the 1960s and 1970s and that name stuck for a long time. But why? 

Well, the aspect ratio of 6×7 centimeters and 4×5 inches, or 8×10 inches for that matter, is similar. Where 4×5 inch was the entry level size for quality work for a long time, 6×7 aimed to take that position from sheet film by on the one hand offering the ease of use of roll film while at the same time reducing costs for film and developing, and on the other hand allowing people to make the switch without having to set up all their equipment and photographic paper stocks anew. 6×7 centimeters allowed people to carry on in the tradition of photographers like Edward Weston (who only shot 4×5 inch briefly before upsizing to 5×7 inch), press photographer Weegee and even Ansel Adams. That was both the practical and the economical aspect.

But, what about the aesthetics aspect? Well, we’ve seen already that with similar aspect ratios, it was easy to pass 6×7 frames off as 4×5 inch or even native 8×10 inch shots and also pass yourself off as a fine arts photographer along the way. But what is the relevance of that in modern times? Those of us that come from the era of film photography and prints are used to seeing the 2:3 aspect ratio of Leicas and the 1960s-onwards SLR cameras, APS-C and ‘full frame’. Also, the relatively young Micro 4/3 cameras have 3:4 aspect ratio. None of those are quite the 6:7 aspect ratio. Same time, the wildfire of smart phone aspect ratios nowadays greatly erases that in younger generations. They grow up with the 16:9 wide angle aspect ratio of their TV or smart phone screen…

And apart from all this, Medium Format 6×7 is also a heck of a lot bigger than regular 35mm negatives. Leading to less enlargement for big prints, which translates to better sharpness in prints. That’s the quality aspect of choosing 6×7 centimeter as your format.

How to distinguish yourself amongst all those shooters and images? How do you stand out from the crowd? Well, there’s the square format from the Rolleiflexes and Hasselblads. Personally, I’ve always found it hard to create interesting and enticing compositions in square format. I love Rolleiflexes but to be honest I s*ck at shooting them. There’s no way to sensibly apply the Rule of Thirds or the Golden Ratio in creating a composition with a square image. As a result, my images often are boring when I shoot square format… Oh well.

So, when you want to stand out with not only the image content but also its dimensions, 6×7 (or 4×5 inch or 8×10 inch) is the logical choice. And honestly, the 4×5″ and 8×10″ large formats are very very nice and offer ridiculous resolution and sharpness as well as very limited depth of field if you need it, but they are more cumbersome to handle and all your expenses go up as well. 

So, 6×7 it is. For me. 

OK then, what’s to choose from?

And why then isn’t everybody shooting it, you might ask?

Well, there are currently no new cameras on the market that can deliver this aspect ratio. The most recent camera that can do it is the Fujica GF670. It’s a folder rangefinder, and it debuted in 2010. And although its image quality is pretty spectacular, it’s expensive. Actually, 6×7 centimeters is a thing of the past in camera production. The ‘Ideal Format’ seized to be ideal to the camera buying masses, and therefore is less than ideal to be produced at all.

This means your options are limited to models that were sold as long as 50 years ago, although most 6×7 cameras are much younger than that.

When getting into 6×7 medium format, your options are limited anyway. There weren’t even that many models made over the years. In fact, there were so few models made that this article can cover most of them, and that’s what it does!

When the above has got you wondering on what your options are, read below where you can find the majority of affordable 6×7-capable cameras in just three tables.

Medium Format Rangefinder Cameras Comparison	Fujica GM670	Mamiya 7 & 7-II	Plaubel Makina 67 & W67
2018 Typical Prices with Standard Lens and Back	$550 with the 100 f3.5 non-AE lens	€ 1600 for the 7 with 80 f4.0 € 2600 for the 7-II with 80 f4.0
Dates of Manufacture	1974 – ???	1995 – 2012	1979 Plaubel Makina 67 1981 Plaubel Makina W67 1984 Plaubel Makina 670 (updated 67)
Appox. Dimensions and weight	1840g with the 100 f3.5 AE	159 x 112 x 123mm (6.2 x 4.4 x 4.8 in.) 1210g (2.6 lbs.) with 80 f4.0 lens	162x115x113mm (56.5mm folded) 1280g
Standard Lenses	Fujinon S 100 f3.5 EBC Fujinon AE 100 f3.5	Mamiya N 80 f4.0 lens	Nikkor 80 f2.8 Nikkor 55 f4.5
Optional Lenses	Fujinon 50  f5.6 Fujinon SWS 65 f8.0 Fujinon 65 f5.6 Fujinon TS 150 f5.6 Fujinon TS 180 f5.6	43 f4.5 65 f4.0 80 f4.0 150 f4.5 210 f8.0	none, fixed lens
Lens Mount	Bayonet mount, identical to Fujicas 690 models.	Bayonet mount, identical for 7 and 7-II.	None
Film Formats	6×7 roll film, both 120 and 220.	6×7 roll film, both 120 and 220.	6×7 roll film, both 120 and 220.
Movements	none	none	none
Focussing System	Rangefinder with lens.	Rangefinder with lens.	Rangefinder with lens.
Viewfinder	With 100 and 150 frames The 50, 65 and 180 require an external finder	Rangefinder coupled  Automatic parallax compensating Automatic bright line selection (65mm, 80mm, 150mm) Readout shutter speed LED indicator Separate ultra-wide optical finder supplied with 43mm or 50mm lens	Rangefinder coupled  Automatic parallax compensating
Shutter	Leaf shutter built in lenses, cloth to shield the film from light when changing lenses.	Electromagnetic full flash synch leaf shutter.	Leaf shutter.
Shutter Speeds	B, 1 sec. – 1/500 sec, but the 100 AE has a slowest speed of 1/8th.	4 sec. – 1/500 sec., B, X synchronization at all speeds	1-1/500th, B, syncs at all speeds
Backs	None	None	None
Close-up Accessories	For the 100mm lenses only.	Cumbersome attachment for the 80 f4.0 lens that requires the lens to be set to 1 mtr exactly, and provides correct focus at 10.8 inches only. Tripod use required.	None
Repair Sources		Phase One
Miscellaneous Features	all lenses have 72mm filter threads.
Further Information	This Camerapedia article covers the GM670 as well.	Mamiya Leaf Legacy 7-II page. If reading lens comparisons is your thing, try this one	Camerawiki article with excellent history.

Personally, I’m a sucker for press gear. It’s the epitome of cool, those beat-up, hard as a rock cameras that churn out excellent images despite the technical flaws they acquired on the job, because the shooter has the skills and the guts to get in the thick of the heat and shoot the heck out of it. So, press cameras in 6×7 are here!

Medium Format Press Cameras Comparison	Graflex XL	Koni-Omega	Mamiya Press
2018 Typical Prices with Standard Lens and Back	(XLRF) $???; (XLSW) $???	(Rapid 200) $???	(Super 23) $???
Models	XL XLRF XLSW	Rapid Rapid M Rapid 100 Rapid 200	Deluxe 23 Standard 23 Super 23 Universal
Dates of Manufacture	1965-??	(1954) 1965-1978?	1962?-??
Appox. Dimensions and weight	?	Rapid M: 7.5 x 5 x 5.3 in (190 x 127 x 133 mm); 4.75 lb (2.15 kg) Rapid 200: 8.8 x 5.3 x 5.7 in (225 x 133 x 144 mm); 4.81 lb (2.18 kg)	Super 23: 7.5 x 6.5 x 6.5 in (190 x 165 x 165 mm); 5.75 lb (2.61 kg) Universal w/o pack film adapter: 7.8 x 6.9 x 5.4 in (198 x 175 x 137 mm); 3.97 lb (1.80 kg)
Standard Lenses	Zeiss Tessar 100 f3.5	Konica Hexanon 90 f3.5 (Rapid and M), Super Omegaron 90 f3.5 (100 and 200)	Mamiya-Sekor 90 f3.5
Optional Lenses	47 Super-Angulon (XLSW only), 58 f5.6 Grandagon, 80 f2.8 Planar, 95 f2.8 Heligon, 100 f2.8 Planar, 180 f4.8 Sonnar, 180 Rotelar, 270 Rotelar	58 f5.6 60 f5.6 135 f3.5 180 f4.5	50 f6.3, 65 f3.5, 65 f6.3, 75 f4.5P, 100 f2.8, 100 f3.5 Macro, 150 f5.6, 250 f5 (Super and Universal only)
Lens Mount	Bayonet	Bayonet mount with breech-lock; pin coupling to rangefinder (wide angles couple by default)	Bayonet-mount lock buttons (except Super and Universal: bayonet locking ring)
Film Formats	6×7, 6×9, Polaroid, 4×5; cut or roll film	6×7; roll film only	6×7, 6×9, Polaroid; cut or roll film
Movements	None	None	Swinging back (15deg, 4 directions), additional 1.19 in (30.1 mm) extension on Super, Universal
Focussing System	Rangefinder Ground Glass, both with lens	Rangefinder Ground Glass, both with side-mounted knob	Rangefinder Ground Glass, both with lens
Viewfinder	Direct: parallax correcting; Combined with rangefinder: brightframes provided for 80, 100, 180 lenses	Direct: parallax correcting; Combined with rangefinder: brightframes provided for 90, 180 lenses; corner dots for 135 lens (100 and 200); automatic frame selection	Direct: parallax correcting; Combined with rangefinder: brightframes provided for 100, 150, 250 lenses (except Standard); manual frame selection
Shutter	Leaf in-lens shutter	Leaf in-lens shutter	Leaf in-lens shutter
Shutter Speeds	B,1-1/500, sync at all speeds	B,1-1/500, M/X sync at all speeds	B,1-1/500, M/X sync at all speeds
Backs	Graflok back. 120: RH-8 8exp 6×9, RH-10 10exp 6×7, RH-12 12exp 6×6; 220: RH-20 20exp 6×7; 4×5: RH-50 50exp 6×7 (remove Graflok); ground glass	120: 10exp 6×7; 220: 20exp 6×7; ground glass (M and 200 only)	Mamiya or Graflok back (Universal only). 120: 10exp 6×7, 120: 8exp 6×9; 220: 20exp 6×7, 220: 16exp 6×9; ground glass; interchangeable rollfilm, cutfilm, plate film, and Polaroid backs
Close-up Accessories	?	Close-up lens/attachment	Extension tubes, back extension
Repair Sources	Ed Romney has written books about how to fix just about any camera you can think of, including the Graflex XL.	Greg Weber used to repair them?	Mamiya Professional Systems Handbook, Robb Smith, 1974.
Miscellaneous Features	Interchangeable/additional grips (up to 3)	Pull/push lever wind/shutter cocking, intermittent film pressure plate, film back design precludes mid-roll swapping (Rapid and Rapid 100 only), three standard-mount (ISO) accessory shoes, lenses have built-in hoods, rangefinder-coupled flash calculator (M)	Right-side view/rangefinder
Further Information	Charles Trentelman’s article on the Graflex XL Complete XL Line overview here	Karen Nakamura’s article on the Koni-Omegas. Koni Rapid Omega 2004 page by Robert Monaghan	?

So there are some of us that prefer to see in the viewfinder just what’s going to be in the frame, and what not. Like, a 100%. If you’re that kind of shooter, you need an SLR in 6×7 since it will allow you to look through the lens when shooting. Luckily, there’s some options here for you too. 

Medium Format SLR Cameras Comparison	Pentax 67, 6×7, 67-II	Mamiya RB67 & RZ67	Bronica GS-1
2018 Typical Prices with Standard Lens and Back	Pentax 67: $?? Pentax 6×7: $?? Pentax 67-II: $??	RB67 with Sekor 90 f3.8 and wind back: $?? RZ67 with  Sekor 90 f3.8 and wind back: $??	Bronica GS-1 with Zenzanon-PG 100 f3.5 and back: € 500-650
Dates of Manufacture	Pentax 6×7: 1969 – 1976 Pentax 6×7 MLU: 1976 – 1989 Pentax 67: 1989 – 1998 Pentax 67-II: 1998 – ??	Mamiya RZ67: 1982 – at least 2010 Mamiya RB67: 1970 – at least 2010	1983 – ??
Appox. Dimensions and weight
Standard Lenses	SMC Takumar 105 f2.4	Sekor 90 f3.8	Zenzanon-PG 100 f3.5
Optional Lenses	Find a full list of all lenses here	RZ67: 22 additional lenses! RB67: 32 additional lenses! Really too many to list here, please refer to the links below!	Zenzanon-PG 50 f4.5 Zenzanon-PG 65 f4.0 Zenzanon-PG 80 f3.5 Zenzanon-PG 110 f4.0 Zenzanon-PG 150 f4.0 Zenzanon-PG 200 f4.5 Zenzanon-PG 250 f5.6 Zenzanon-PG 500 f8.0
Lens Mount	Bayonet	Bayonet	Bayonet
Film Formats	120 and 220	120 and 220, Polaroid	120 and 220
Movements	none	none	none
Focussing System	Viewfinder & lens	Ground glass or viewfinder combined w/ focusing knob, fine focusing with lens	Ground glass or viewfinder w/ lens
Viewfinder	Chimney finder or several prism finders	Chimney finder or several prism finders	Chimney finder or several prism finders
Shutter	Cloth shutter	Leaf shutter in lens	Leaf shutter in lens
Shutter Speeds	1-1/1000th, B, syncs to 1/30th only	Depends on lens. typically 1-1/400th, T (has no B mode!), syncs at all speeds
Backs	Fixed back, can be ‘hacked’ to take Polaroid but irreversible	Graflok style backs, the RB67 can fit some backs from other makers 6×4.5 for 120 and 220 6×6 for 120 and 220 6×7 for 120 and 220 6×8 for 120 and 220 (RB67 Pro-SD) Polaroid backs for RB67 and RZ67	6×4.5 for 120 and 220 6×6 for 120 and 220 6×7 for 120 and 220
Close-up Accessories	Any diopter filter will do	Both cameras focus with a bellows and have additional macro rings available
Repair Sources
Miscellaneous Features		Rotating backs	TTL flash
Further Information	Karen Nakamuras article on the Pentax 67 series 67ii page on RicohImaging	My article on the Mamiya RB67 Pro-SD Full RB67 overview on Camerawiki Full RZ67 overview on Camerawiki	Camerawiki article on the Bronica GS-1

In the final ‘Odd-ball’ category I have accumulated some cameras that are affordable and get you into 6×7 pretty cheap. And yes, there’s a list of expensive options too but I decided not to research those fully, instead list them below. So if you’re looking to burn cash rather than save it, look below the ‘cheap options’ Odd-ball table! Sensible folks read on slowly, it’s about the image, not about how much you spent to shoot it, right? 😉

Medium Format ‘Odd-ball’ Cameras Comparison	Horseman Convertible 842	Hacked Baby Graflex 6×7	Horseman VHR etc
2018 Typical Prices with Standard Lens and Back	$550	Body with 101 lens: Graflex 2×3 or 6×9, ‘Baby’ $150 Graflex Singer RH10 film holder $50	Horseman 970 Press Horseman 980  Horseman VH (no rangefinder) Horseman VH-R
Dates of Manufacture	1971 – ??	1940s to 1970s	970 Press: 1963 – ?? 980: 1969 – ?? VH-R: 1977 – at least 2010
Appox. Dimensions and weight		Very lightweight!
Standard Lenses	62mm f5.6 fixed lens	Kodak Ektar 101 f4.5	Topcor 105 f4.5
Optional Lenses	None	As many as you can get cheap	Super HORSEMAN 65 f7.0 Professional HORSEMAN 75 f5.6 Super HORSEMAN 90 f5.6 Professional HORSEMAN 105 f3.5 Super Horseman 105 f4.5 Super HORSEMAN 120 f5.6 Super HORSEMAN 150 f5.6 HORSEMAN 180 f5.6 Many of these lenses are also found marked ‘Topcor’, for the 970 Press and 980.
Lens Mount	None	Lens on lens board	Lens on lens board
Film Formats	6×7 6×9 roll film only	6×7 6×9 roll film sheet film	6×7 6×9 roll film  sheet film 4×5 inch with adapter plate! Requires lens marked ‘Super’ for corner coverage
Movements	None	None	Limited front rise, swing and tilt and rear swing and tilt (On the VH and VH-R)
Focussing System	Lens only	Rack and pinion w/ rangefinder	Rack and pinion w/ rangefinder (not on VH)
Viewfinder	Wire Frame only!	Wire frame, top mounted viewfinder	Top mounted viewfinder, parallax corrected
Shutter	Leaf shutter	Leaf shutter on lenses, but the Baby Pacemaker has a cloth shutter and allows for the use of non-shuttered lenses!	Leaf shutter on lenses
Shutter Speeds	1-1/500th, B, syncs at all speeds	depends on the lens you fit
Backs	6×7 120, 10 exp, Press type (silver grey, bottom lever)  6×9 120, 8 exp, Press type (silver grey, bottom lever)  6×7 220, 20 exp, Regular type  (black, top lever)  6×9 220, 16 exp, Regular type (black, top lever)	Get a Graflex Singer back for either 120 or 220 film. Remove the original leaf springs and the ground glass. Fit new black velvet around the rear opening to light proof it. Use the screw holes from the springs to mount extended studs. Fit the back in place and use rubber bands over the studs to secure it in place. Presto! A removable 6×7 back on a Baby Graflex! The rangefinder might need a bit of recalibrating with the new velvet, use the ground glass for that.	6×7 120, 10 exp, Press type (silver grey, bottom lever or knob)  6×9 120, 8 exp, Press type (silver grey, bottom lever or knob)  6×7 220, 20 exp, Regular type  (black, top lever)  6×9 220, 16 exp, Regular type (black, top lever)
Close-up Accessories
Repair Sources
Miscellaneous Features	It has a flash sync and can take a cable release…?
Further Information	My article on this remarkable camera		There were similar Horseman models produced as early as 1948, I have listed the most common models here. VH-R page on Camerawiki 980 page on Camerawiki

Need to spend a fortune?

Get your kicks below, there’s a number of options that break the bank to acquire but darn I gotta say there’s some nice stuff in there for sure!

• The youngest camera is the Fujica GF670, also known as the Voigtländer Bessa III. The 2008 rangefinder folder with Fujinon EBC lens.

• The Horseman SW612 and SW612P models. The very versatile panorama camera line-up, the offspring of the above listed and rather unknown Convertible 842. 

• Linhof Technika Press 70. Basically a Graflex XL or a Mamiya Universal but hey, it says Linhof…

• Alpa 12TC, from the remarkable camera makers from Switzerland. Did you know they make an adapter that allows to use Pentax 6×7 lenses on their cameras? 

• The Fuji GX680 system used to be one of the best systems you could buy into but while parts of the system are still expensive, you have to make an effort (i.e. spend money) to find fully functional lenses and bodies. Buying a complete set where everything can be tested would be smartest, but most pricy too…