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CZY Sonnar 2.8/180 ?
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PostPosted: Sat Sep 28, 2024 8:57 pm    Post subject: Reply with quote
Noritar wrote:


I have a lot of Mamiya 645 lenses and other lenses adapted to Mamiya 645 but don't own a Mamiya camera. I always thought P6/Kiev 60 should be better due to them not having film flattness issues.


Well, I know for certain that P6 suffers from the flatness issues on the permanent basis. Never heard anything like for Kiev 60. But it has severe problem with internal light-striking, which you have to fix before the camera would be good for any decent use. Also, much of Kiev camera suffer for the shutter problems - simply 500 and 1000 are the same as 250 (Not the cameras produced at the beginning of 90-s however, when they raised the quality standards for time).

In relation to Mamiya, I discovered that discussion:

https://www.photo.net/forums/topic/39814-film-flatness-problems-with-mamiya-645-afd/

Well. My impression is, that at the real world photography it might not be so severe.

However, if you look for the perfect flatness, you should use Kony-Omega cameras.


PostPosted: Mon Sep 30, 2024 12:23 pm    Post subject: Reply with quote
[quote="LittleAlex"]
Noritar wrote:


However, if you look for the perfect flatness, you should use Kony-Omega cameras.


What about the Koni-Omega makes them better regarding film flatness?

Mamiya 645: Perhaps film flatness is less of an issue if you don't leave film in the film back for a long period of time.


PostPosted: Mon Sep 30, 2024 12:48 pm    Post subject: Reply with quote
Noritar wrote:


What about the Koni-Omega makes them better regarding film flatness?



There is so called “vacuum pressure” by the plate on film.

Noritar wrote:


Mamiya 645: Perhaps film flatness is less of an issue if you don't leave film in the film back for a long period of time.


I believe it helps considerably to wind the film exactly before taking the exposition.


PostPosted: Thu Oct 03, 2024 9:57 pm    Post subject: Reply with quote
LittleAlex wrote:

I believe it helps considerably to wind the film exactly before taking the exposition.


I did some reading on this. It seems that when people are concerned with keeping the film flat, while shooting Mamiya 645, they will advance the film twice so that the section of film that paused on a roller will not be in the frame during the next exposure.

This technique is clearly wasteful, but I could see it being useful for specific situations.
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