Mamiya Super 23
Search for Press Cameras
I enjoy shooting with a cheap plastic toy camera, but I also wish to explore other medium format camera with better precision within reasonable budget. In this searching process, I came across a comparison on the web covering various press cameras, namely, Graflex XL, Koni / Rapid Omega and Mamiya Press. Then I knew roughly what I needed.
In fact, before acquiring Mamiya Super 23, I also thought about Kiev 60 and Kiev 88. I even purchased a Kiev 88 via ebay, but finally I returned and got refunded. The shutter curtain jammed and broke even in my first few trials, before actually going into the field for shooting. You can search for Kiev 88's shutter jam problem in web for more details.
With a bit little experience with Kiev 88, its design objective is good in making all components modular and integrated with the intelligence in mind. Actually, it is a Hasselblad copy (Finally I got a Hasselblad 500C/M). e.g. you cannot dismount the back before inserting the dark slide, you cannot fire shutter until completing the film advance, you cannot fire shutter until dark slide removed. However, it may be the point that is creating more problem when the actual manufacture standard did not fully cater for that.
Koni Omega seems to be more robust, but supports up to 6x7 frame size, which is still not I preferred.
Mamiya Press System
Common models for this Mamiya Press series you can find are Mamiya Standard, Mamiya Super 23 and Mamiya Universal. Standard and Super 23 can fit Mamiya backs, while Universal is built to fit different back types by using adapter :
Universal + M Adapter + Mamiya Back Universal + G Adapter + Graflex Back Universal + Polaroid Back
The design is modular but integrated with little intellience among components. It is simple, and just works, e.g. Lens built with shutter, body for RF focus mechanism, back for film advance / rewind. Each component just performs its own well-defined function without too much coupling with others. You can expose film for as many time as you want without restriction from film advance mechanism. Dark slide and back can be attached and detached any time in any sequence.
From its name, it is so easy to associate with shooting by press photographers. It need to be easy to operate, robust like a workhorse. Probably, it is due to the loosely coupled and modular design to achieve this. From its appearance, it is huge in size, like a Gozilla. Was it a lovely pet kept by press photographers, to bring around ? I think, yes.
It is a complete system with a full range of accessories supported to suit different shooting requirement, e.g. sport finder for capturing fast moving subject, ground glass focusing for sheet film, extension tube for marco photography, tilting back for perspective control in architectural photography. It started from a press camera, but extended beyond that.
How to Choose ?
Mamiya Universal and Super 23 are very similar but different cameras. Function-wise, they cannot replace each other. Many people always ask, what should I choose ?
If you want to shoot polaroid (instant photo) => Mamiya Universal If you want to shoot by using built-in bellow with tilt function => Mamiya Super 23
About The Camera
The camera shown in this webpage is my Mamiya Super 23 purchased via ebay (image credit - from wideangleman @ ebay). You can see a test sample shot here.
with Bayonet mount, lens available with various focal length quite often come with the standard lens, Mamiya Sekor 100mm / F3.5, supporting 1/500 - 1 sec
shutter speed & Bulb setting, and Flash sync contact of M / X (mine is a DIY modified one to lock the flash sync in X position to facilitate usage of common modern flash, and sych chord adapter is attached, with sync chord passing through the hand grip)
Hand grip attaching to the left side of the camera body, to provide attachment of shutter release cable & pushing button, and cold shoe for external flash attachment
Various roll film backs are available to support 120/220 format for frame size 6x9, 6x7, 6x6, 6x4.5. Some film backs support only 1 frame size (e.g. 6x7, 6x9) but some support multiple frame sizes (e.g. 6x9+6x6+6x4.5, 6x6+6x4.5). Some models are using simple film advance rotating knot with red window displaying count on film backing paper, while some others are using double stroke on the film advance crank for advancing one frame with mechanical film counter built on film back. No couping of shutter release with film advance control allowing multi-exposure.
accessory shoe on the top of camera body, for attaching finder, exposure meter, etc
see: http://www.eyescoffee.com/collectcamera/mamiyasuper23/mamiyauniversalandaccessories.pdf
More Information
Other Resources - Students of journalism will experiment with various types of cameras. The digital age has changed the way photography and journalism blend together. Projects and business use the medium in a variety of ways. Those studying for an AACSB online MBA or with an interest in MBA entrepreneurship will find the photographic medium an exciting way to further their studies. Photographs have a way of impacting a potential consumer or scholar that words alone do not. Finding the right tools and cameras is an important step in the learning process. Expirimentation can be fun and produce many different results that can be applied to various practical applications.
Mamiya Super 23: Love at First Light
Louis Meluso , May 31, 2010; 06:27 p.m.
Original 1967 ad for the Mamiya Super 23
Original Ad
Responses
Louis Meluso , May 31, 2010; 06:28 p.m.
This is a 1967 Mamiya Super 23. I wanted a
6x9cm camera for landscape work so I could make
big prints. I had a 6x9cm roll back for my view
camera but I always felt if I was going to carry a
view camera, I may as well shoot 4”x5”. I was
hoping to get a camera that handled quickly, had
good optics and had a rangefinder that wasn’t
“squinty”. After researching, I settled on the
Mamiya system. The Super 23, and its cousin, the
Universal, were the last of the Mamiya “Press”
camera line. However by 1967, most press
photographers had moved to 35mm camera. The
Press cameras did find a niche in the professional
photography markets for portrait/ wedding,
architectural and studio photography. The Super
23 is a true all-mechanical, classic manual camera
with no batteries, no meter and no automation.
Front
Louis Meluso , May 31, 2010; 06:29 p.m.
The camera looks boxy, and it is, but the inclusion
of the detachable grip makes handling the camera
quite easy. It’s a modular system where the
lenses, backs, focusing screens, extension tubes
and optical finders can all be changed to suit the
assignment. One of the features that attracted me
to this camera was the rangefinder. It’s HUGE
and bright. You could drive a bus through that
viewfinder. Even with glasses, seeing everything
and focusing is a breeze. A selector switch on the
rear of the finder provides framing lines for the
100mm, 150mm and 250mm lenses. The wide
lenses have separate optical finders that mount on
top. You can also focus via an accessory ground
glass that attaches to the back when the film
holder is removed.
Back
Louis Meluso , May 31, 2010; 06:30 p.m.
The Mamiya-Sekor 100mm f/2.8 is an excellent
multi-coated, planar-type that is one of the
sharpest and fastest lenses available for the 6x9
format.
100mm f/2.8 Lens Fast and Sharp
Louis Meluso , May 31, 2010; 06:31 p.m.
There is also a 100mm f/3.5 lens available which
is the standard normal lens for this system. This is
a tessar-type design that has a collapsible feature
so the lens can focus to infinity when the rear
bellows are employed. The lenses are mounted in
Seikosha shutters.
100mm f/3.5 Normal Lens Extended and Retracted
Louis Meluso , May 31, 2010; 06:32 p.m.
Here is my system which consists of the body with
grip, type 3 6x9 back, ground glass with
magnifier, 75mm f/5.6 w/finder, 50mm f/6.3
w/finder, extension tube set, 150mm f/5.6, 100mm
f/3.5 collapsible and the sports finder mounted on
top of the body.
My Mamiya Super 23 System
Louis Meluso , May 31, 2010; 06:33 p.m.
Just a word about the120 film backs. The Mamiya
S-shaped film backs are renown for their film
flatness. One can obtain backs in various formats,
6x4.5, 6x7, or 6x9. There is a multi-format back,
the K back, as well. Also there are several styles.
The older style is good but have no interlocks and
it is possible to double expose a frame.
Compare Backs
Louis Meluso , May 31, 2010; 06:34 p.m.
The newer style (type 3), developed for the
Universal but works fine on the Super 23, has a
unique feature where you can disconnect the
handle grip and use a special cable attached to
the bottom of the back. In this configuration you
can actually hold and fire the camera like a
standard rangefinder and, in addition to providing
interlocks, it removes a lot of the bulk and a fair
amount of weight from the camera.
Back Release
Louis Meluso , May 31, 2010; 06:36 p.m.
I would be remiss if I did not mention the rear
bellows. The bellow can be extended in any
direction to help carry focus, assist in perspective
control, and close up photography when fully
extended. When combined with extension tubes,
significant magnifications can be obtained.
Attaching the ground glass with the hooded
magnifier helps with pinpoint focusing. There is a
slot on the ground glass adapter that allows the
insertion of cut film holders that are available as
an accessory. Here are a few shots made on
various films as noted.
Rear Bellow, Ground Glass Adapter with Magnifier
Louis Meluso , May 31, 2010; 06:37 p.m.
Farm Scene with Pond
50mm lens, orange filter, Tmax 400
Farm Scene with Pond
Louis Meluso , May 31, 2010; 06:38 p.m.
After the Harvest
50mm lens. orange filter, Tmax 400
After the Harvest
Louis Meluso , May 31, 2010; 06:39 p.m.
Shawnee Storm Clouds
75mm lens, yellow filter, Tmax 400
Shawnee Storm Clouds
Louis Meluso , May 31, 2010; 06:40 p.m.
Leaves in a Log
150mm lens, yellow filter, Tmax 400
Leaves in a Log
Louis Meluso , May 31, 2010; 06:41 p.m.
Tall Prairie Grass
100mm f/3.5, no filter, Tri-X
Tall Prairie Grass
Louis Meluso , May 31, 2010; 06:41 p.m.
Daises
100mm f/2.8, bellows fully extended, Fuji Pro 400H
Daises
Louis Meluso , May 31, 2010; 06:42 p.m.
Flash Dance
100mm f/2.8, Kodak Ektar
Flash Dance
Louis Meluso , May 31, 2010; 06:44 p.m.
Block Building after a Late Spring Snow
75mm lens, Fuji Pro 400
The Mamiya 23 represents one of the most
versatile cameras I’ve ever used and makes a
great system. On the downside, this is no pocket
camera and not meant for the frail of back or
weak of wrist. While not suitable for every
situation, the camera is fast handling and offers
great lenses, superb film flatness, a giant
viewfinder and a big, juicy 6x9cm negative that’s
sharp corner-to-corner.
Block Building after a Late Spring Snow
Martin Dake , May 31, 2010; 06:48 p.m.
Wow on the kit; double wow on the pictures.
I ended up with a Koni Omega; but now I am
jealous and want a set up like that.
JDM von Weinberg , May 31, 2010; 06:57 p.m.
What a wonderful post.
"It must be a really swell camera since you take
such nice photographs with it." :)
Thank you very much.
Capital Q , May 31, 2010; 07:36 p.m.
Excellent shots (as usual), Louis. Very inspiring.
Rick Drawbridge , May 31, 2010; 07:37 p.m.
Lovely kit, Louis, and photographs that do it
justice. I used to have the Linhof Press 70, a
similiar camera, but always hankered after the
Mamiya. However, I could never really justify
buying one, having cast my vote for the RB/RZ 67
format. That's an immaculate outfit, and I know
you'll love using it.
Minh Nguyen , May 31, 2010; 07:38 p.m.
Louis
How can you get a system like this !!! ?
Maciek Stankiewicz , May 31, 2010; 07:43 p.m.
My Mamiya!
Even ABBA had a song about Mamiya :)
,,My Mamiya, here I go again
My my, how can I resist you?
My Mamiya, does it show again?
My my, just how much I've missed you
Yes, I've been brokenhearted
Blue since the day we parted
Why, why did I ever let you go?
My Mamiya, now I really know,
My my, I could never let you go".
And then Swedish Hasselblad asked the band
to change the lyrics... :)
Mike Gammill , May 31, 2010; 08:24 p.m.
Brings back memories. When I was in college I
made extra money photographing weddings. My
dad let me use his Mamiya Super 23 with a side
mount Honeywell Strobonar flash. We only had
one lens, though.
Les Sarile , May 31, 2010; 09:20 p.m.
Outstanding looking system and given your eye,
even these tiny posts from such a large source
shows remarkable quality. Mamiya really turned it
around from its much maligned DTL's.
Now that I have the Coolscan 9000, it is craving
to scan a big piece of film and I believe MF 6X9 is
the largest single frame it can scan at one time so
I've been looking for such a camera . . .
That's great Maciek! Although I would love to own
a Hasselblad system too! So many options . . . ;-)
Les Sarile , May 31, 2010; 09:45 p.m.
If they ever pass a law against owning one
camera, they will have to pry them out of my cold
hands . . . , my camera bags, closets, boxes . . .
they better bring a wheel barrow . . . ;-)
Subbarayan Prasanna , May 31, 2010; 10:35 p.m.
Beautiful shots and equipment; thanks for the
post. sp.
Michael Smith , May 31, 2010; 10:50 p.m.
Louis,
Why do you post such photos? The complete set is
only making me want to look for one here in
Japan. It is not like I cannot come across one.
Jeez! I have not even complete my Pentax 67 kit
and you got me thinking `Oh, a Mamiya Super 23
looks good too!`
Lovely photos as usual. Farm Scene with a Pond
is stunning to say the least!
Mike
Ralf J. , May 31, 2010; 11:52 p.m.
Super system and photos Louis, always look
forward to your posts. Was your system a one shot
deal or did you painstakingly put it together over
time?
I just acquired a Koni Omega 100 and was very
pleased with the results(6x7 Rangefinder). The
accessories for it are hard to come by but worth it
in my book.
Again thanks for a fine post.
Rick van Nooij , Jun 01, 2010; 04:10 a.m.
Absolutely spectacular photos Louis.
I particularly like the look of the block buildings
and Farm scene with pond.
Nice informative view on the Super 23. Looks like
a very versatile camera. a bit too modern for my
tastes, but still.. ;)
Jean Moxhet , Jun 01, 2010; 05:44 a.m.
All I can say is: Waouw!
Ok, that's not a constructive comment ;-)
Steve Salmons , Jun 01, 2010; 07:59 a.m.
I bought one of these on impulse a couple of years
ago just to have the 50mm lens. I must get out
with it again. Too many cameras and too little
time!
Very nice work Louis. You seem to always squeeze
the best out whatever kit you happen to be using.
Sasvata (Shash) Chatterjee , Jun 01, 2010; 08:42 a.m.
Louis, great camera and all, but the proof is in the
pudding, or a picture is worth a thousand words,
or whatever idiom you prefer :-) Great photos!
Stuart Richardson , Jun 01, 2010; 09:02 a.m.
Thanks for the posts and the photos Louis -- it was
really interesting to read about this camera and
see your work with it! I have the
you'll pry it from my cold dead hands" feeling
about my Mamiya 7II, it's cool to see what kind of
systems they were using in the decades previous.
Chuck Foreman , Jun 01, 2010; 09:18 a.m.
Yes Indeed .. Great Photos.. I have sen this model
and lusted after it.. I also felt this was the way to
go..just never came across one! Two similar
models that did cross my path.. are the Koni
Omega 100 and the Graflex XL. It is amazing that
you'Ve managed the whole kit or at least most
every useful item. Your photos are stunning and
your kit too!!
Kayam Rajaram , Jun 01, 2010; 11:11 a.m.
Thanks Louis, for both the photos and the very
detailed post.
Here's a thought - there have been several
excellent posts on this site providing details on
some fantastic and rare cameras. Perhaps we
should start creating an index of such posts?
Rūdolfs Putniņš , Jun 01, 2010; 11:41 a.m.
Oh, the GAS! It's killing me...
Stephen Penland , Jun 01, 2010; 11:53 a.m.
What a beautiful system, and I love the format /
aspect ratio. If I can have one more camera in life,
let it be this one.
John Layton , Jun 01, 2010; 01:25 p.m.
Louis, is the extra "grip" (w/cable release
provision) for the 2X3 back available separately -
or was this an integral part of a "special version"
of this back? I have the chrome version of this
back (just as in your photo), and it would be great
if I could add this grip so I could hold and activate
the shutter with my right hand.
I'm also looking for a lens mount off of a Mamiya
Press camera, and if you or anyone else you know
may have this, or perhaps a non working body
from which I could salvage this, I'd truly
appreciate knowing about this.
Thanks again - and as always, its truly a pleasure
to see your work!
patrick stack , Jun 01, 2010; 02:25 p.m.
Louis -
Zowee, beautiful gear and outstanding photos. I
would love to see the print of "Daisies," I'll bet the
colors and dimension really display well. Thanks
for a great post and photos.
Patrick
Mihai Costea , Jun 01, 2010; 03:25 p.m.
Louis, senasational results on the farms and
landscapes. The belows that allow perspective
correction is the best you can get on MF. What a
great post, thank you.
Conrad Smith , Jun 01, 2010; 03:58 p.m.
I miss the tilts and swings on the back of the
Press 23 I once owned -- and loved the the 2:3
aspect ratio of the 6x9 rollfilm back. Sure was
easy to get perfect 8x10s with those large
negatives. Traded mine in because it wasn't very
well sealed against the dust I encountered
backpcking with Press 23 & Tiltall tripod (too
heavy a combo for long treks).
Louis Meluso , Jun 01, 2010; 04:16 p.m.
Thank you all, good forum members, for your
kind feedback.
Minh and Ralf - It is very hard to find this
camera and parts here in the US. I don't know
why. I assembled my kit over a four month period
using mostly several reliable eBay vendors based
in Japan. Not a single used camera outlet in the
USA, including KEH, had anything outside an odd
bit or two. You do see some private parties selling
items on ebay from time to time. The basic kit is
not too expensive but the good glass, in good
condition, can be pricey. The Universal is a very
similar camera, sans the bellows, and seems to be
easier to find. It also accepts a Polaroid back
where the super 23 does not. The film backs,
lenses and other accessories are otherwise mostly
interchangeable. Sometimes you'll see a "flat top"
conversion of the Super 23 where a dedicated
landscape shooter will cut the top rangefinder off
to save weight and bulk. Also you may find one
with an adapted Graflex back and a reverse curl
film holder (Horseman, etc) is used. I've not tried
these but the scuttlebutt is, while less bulky, they
don't hold the film as flat as the Mamiya "S" backs
on the Super 23.
John - Yes, the "grip" with the trigger cable
release on the type 3 back is an integral part of
the back. The back fits very securely to the body
and you simply hold the back, with the rt. hand,
and cradle the body and focus with the left hand
from underneath. You'll pay about 30%-50% more
for a type 3 back depending on condition. As you
noted, I have both kinds and keep different films
in each. Also an nice feature is that both styles of
back accept both 120 and 220 film. Just a twist of
the pressure plate is all that is needed.
Andre Noble , Jun 01, 2010; 10:25 p.m.
Very nice photos.
It's amazing a camera that is 40 years old is in
such good shape, too.
Andy Collins , Jun 02, 2010; 12:31 a.m.
Louis, Louis, Louis...your posts always amaze and
inspire me, but this is a really cool camera system
that looks like it would be a lot of fun to use. The
farm with pond shot is beautiful, but I really like
the shot of the daisies and the "Leaves in a log"
equally as much. Thanks for another wonderful
post with great information and outstanding
pictures. Oh, and a pretty cool camera too!
Tony Lockerbie , Jun 02, 2010; 01:35 a.m.
Absolutely first class post as always. That is a
lovely system you have there, makes us all
jealous!
I used a Super 23 way back in the seventies, it
had the 100mm 3.5 lens and a wide...65mm if my
memory serves me correctly...and I remember the
pictures being critically sharp. Don't recall why I
sold it, don't know why I sell anything!
Ed Birch , Jun 02, 2010; 11:31 a.m.
To quote Martin. "WOW!!!" The camera kit is
outstanding as are the photographs. Where did
you ever fin a kit like that in such pristene
condition. I have always been a fan of the Sekor
lenses, as I have a pretty good RB kit. I also went
with a Koni-Omega rapid mainly for the great deal
I got.
Ed Birch , Jun 02, 2010; 11:31 a.m.
To quote Martin. "WOW!!!" The camera kit is
outstanding as are the photographs. Where did
you ever fin a kit like that in such pristene
condition. I have always been a fan of the Sekor
lenses, as I have a pretty good RB kit. I also went
with a Koni-Omega rapid mainly for the great deal
I got.
Dani Irwan , Jun 05, 2010; 02:53 p.m.
Jeez Louis....why are u doing this to us...i'm
betting the number of ebay searches for this
camers has spiked since u posted this!
Louis Meluso , Jun 06, 2010; 09:36 a.m.
Thanks for all the comments and contributions to
the thread.
Ed - The whole kit came from eBay. I waited till I
found a clean one that fit into my budget. I saw
quite a few nice chrome ones but I wanted a black
one. I brought the entire outfit to Clarence Gass,
in Mission, Kansas for a full CLA of the body,
backs, lenses and shutters. I got back a
completely dialed in system. There is a large
wedding/ school portrait company here in Kansas
that used only Super 23's and Universal's for it's
staff for many years (they've gone digital now).
Clarence was their primary repair person. He has
years of experience working with these cameras
and still has some of parts.
Sebastian Moran , Jul 30, 2010; 10:03 a.m.
Louis, thanks for this great posting and the
inspiring images. Congratulations on the terrific
kit.
I'll add a bit for others interested in the Mamiya
Press system.
I second the recommendation for the two
excellent Japan-based sellers of Mamiya Press,
camera.japan (*BiG PiX*), and ginotokojapanusa.
Both are completely reliable. When you are ready
for something exotic, ask them to find it for you
and they can usually do so.
I started with the graflok adapter on a Universal
and I do not recommend the graflok approach. It
will take modern Horseman backs, but they don't
fit quite right. You have to cut some material off
the adapter to make the Horseman fit, the back
gets in the way of the finder eyepiece, and the
Mamiya Press backs are great.
Specifics on the graflok back problem are here:
http://photo.net/medium-format-photography-
forum/00PNFM
The "Type-3" back and related grip/release cable
are very hard to find. I did find one, but the
double exposure prevention interlock on mine is
unreliable. I've returned to the standard back/grip
thinking "simpler is better," and this is working
for me.
All the Mamiya lenses are very good, and the top
glass (100mm f/2.8, 75mm, 50mm) are really
great. The large negative is nice for scanning. The
large camera is quite a bit to carry. I'm enjoying
mine.
Chris Nielsen , Aug 13, 2010; 03:57 p.m.
I keep going back and looking at 'farm scene with
pond'. What a fantastic image!
Bob Everding , Aug 27, 2010; 11:42 p.m.
Louis, I just got a reasonable Super 23 from
Cameta Camera and the viewfinder is quite cloudy
and I really want to have this baby get a good CLA
before I play with it. I am wondering what's up
with mine because it has a 90mm f3.5 lens on it
(is this not a normal lens?) and I haven't figured
out how to operate the Mamiya back that you
slide a metal button to change from 6 x 4.5 to 6
x6. Where are you supposed to store the darkside
once you take it out? My Mamiya 645 Pro seems
like light years away from this simple basic
machine.
If I can find a phone number for Clarence Gass, in
Mission, Kansas, I will call him. If not, since I am
in a suburb of Oklahoma City, a trip is not out of
the question and probably would be best since
that way Clarence can teach me a few things
about this wonderful camera.
Bob E.
Jim Peterson , Sep 19, 2011; 11:48 a.m.
Sorry to resurrect an old thread but I just took
possession of the same camera a few days ago and
I am about to run my first roll of film through it. I
received mine as a gift and it is in very good
condition!!