Mamiya RZ67 Pro Review

A Very Personal Mamiya RZ67 Pro Review

A Very Personal Mamiya RZ67 Pro ReviewIn one of my recent articles I talked about the beginning of the digital age and the consequences it brought to our understanding of photography. With all its greatness, with all the speed and quality and versatility, it became irreplaceable in our everyday lives and businesses. Along with that, however, digital photography also brought up a few problems, likely the biggest of which was the growing interest in new technologies rather than photography itself. This problem seemed to push the very goal of having a camera and a lens completely out of our minds. New gear was the thrilling, fun part. Comparing one to another has become our everyday activity. And yet, if we manage to get past that, if we manage to actually get out there and shoot rather than just read and read and read about new lenses and cameras day after day, we get the point of digital. We get to enjoy it as we should. We get to see digital, in a way, how we see the 18-200 or 28-300 class lenses – the do-everything, good enough for anything, the daily choice. But here lies another potential problem – with all the great all-round lenses, why do we love those boring 50mm f1.4 primes so much? I find myself shooting, and shooting, and shooting again. I find myself having hundreds, if not thousands, of photographs, and I like them. But a super-zoom is no prime lens. There’s always something vital missing. I may have just found out what it was for me. Before we dive into my very personal and subjective Mamiya RZ67 Pro review, lets talk film for a minute.

1) A Couple of Thoughts on Film

Where digital is about speed, you had to take it slow, sometimes even painfully so, with film. Where you had the shot with digital the second you pressed that shutter, you had to carefully store, develop and enlarge the photograph back in the day. Fiddle with the chemistry and red light in complete darkness. And you had, at best, 36 shots before you take a break and change film, whereas with digital, you have hundreds and hundreds before you swap that SD/CF/XQD card and shoot away again, ten frames per second. And every shot had to count. For every exposure, you pay money. You had manual focusing and manual exposure (I’m not talking about automated SLRs – I find them a little too boring, and we’ll talk about it further on) and you never knew if you’d screwed something up in the process. With digital, you can just shoot, adjust, and shoot again. I’m not even going to start on dust and scratches and archiving and having copies and making sure you don’t expose that precious roll to light before you had the chance to develop it.

Kodak BW400CN

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