Medium Format Camera Lenses
A Medium format lens requires a longer focal length than a 35mm lens. A 50mm lens is thought of as a normal lens in 35mm film format, or a 35mm lens is normal for an APS- C Digital Camera, but these are wide-angle lenses on a medium format camera. But no matter what the lens focal length is, all lenses an identical focal length provide an the same exact depth-of-field. therefore a 100mm lens when mounted on a 35mm camera or medium format camera, yield the identical depth-of-field, although Medium format photographers must focus more precisely to obtain the necessary depth-of-fields.
Angle of view is another matter as a 100mm lens which is considered normal on a medium format camera provides about the same angle of view as a 35mm lens on a 35mm APS-C Camera. Also in order to keep the lens size down, medium format lenses run about a stop slower.
Medium Format Cameras
Medium Format Cameras
A large number of medium format professional cameras are "system cameras", meaning they have a variety interchangeable components. Somewhat similar in
flexibility to a majority of
35 mm SLRs
, these medium format cameras generally accept different lenses, and additionaly it is somewhat normal for medium-format camera systems to corroborate with different winding mechanisms,
, camera backs and viewfinders. This adaptability is one of the foremost benefits of medium format in
Dec 18, 2010
Arranged By Lens Brand
Fujifilm Medium Format
Camera Lenses Fuji makes the very interesting GX 680 III camera. It is similar in size and weight to the huge Mamiya RB/RZ system but you get modern electronics and the same perspective controls that you'd find on the front standard of a view camera.
Hasselblad Medium Format Camera Lenses - Launched by Hasselblad in 1957,
the new 500C had lenses with a central leaf shutter. It was a true
'system' camera and became the bedrock of a line which became
celebrated as the now-famous 'moon camera' used by Neil Armstrong
and Buzz Aldrin to record the first images of man on the moon, and
perhaps more importantly, of earth from the moon.
Hasselblad launched the H-System at Photokina in September 2002.
H1 The H1 departed from previous Hasselblad cameras in several respects. Hasselblad moved away from the traditional 6×6 format to 6×4.5cm, and included autofocus lenses.
The camera was in large part manufactured by Fuji and featured Fuji-made lenses, leaf prisms and film backs, thus departing from Hasselblad's long association with Zeiss.
The H1 had a number of other innovations, including:
replacement of the removable dark slide with a fold-out lever
inserts and backs that could accept both 120 and 220 film
automatic film advance
digital back integration
electronic leaf shutters with timing from 1/800 seconds down to 18 hours
As with the V series, most H1 and H2 series components were compatible with one another.
The Hasselblad 200 series is a successful line of high-end,
focal-plane, single-lens reflex (SLR) medium format cameras made by
the Hasselbald Corporation of Sweden, using German-made Carl Zeiss
lenses. The 200 series (which includes the 201F, 202FA, 203FE,
205TCC, and 205FCC) and the older 2000 series are renowned for their
excellent optics, compact size, and extraordinarily ridiculously
high original retail price in Japan, Europe, and the United States.
On the secondary (aka used) market, the 200 series are currently
priced reasonably and are worth the investment
Holga Medium Format Camera Lenses. Probably the most important reason that Holga’s and their lenses have attained their cult status today is because they are Fun! Once your technical limitations have been simplified to a couple of very simple choices then you can just attach the Holga lenses, get out there and have some Fun!
Leica Summarit-S 35 mm f/2.5 ASPH Lens
Leica Summarit-S 35 mm f/2.5 ASPH CS Lens
Leica Summarit-S 70mm f/2.5 ASPH Lens
Leica Summarit-S 70mm f/2.5 ASPH CS Lens
Leica APO-Macro-Summarit-S 120mm f/2.5 Lens
Leica APO-Macro-Summarit-S 120mm f/2.5 CS Lens
Leica APO-Tele-Elmar-S 180mm f/3.5 Lens
Leica APO-Tele-Elmar-S 180mm f/3.5 CS Lens
Lomography Medium Format Camera Lenses. LOMO Lenses have an amazing vintage look. These were the most popular russian lenses between '70s and '90s and nowdays the mix between vintage glass (K35, Super Baltar, KOWA, Cooke S2) and the excesive sharpness of digital sensors give out a very cinematic look.
Mamiya Medium Format Camera Lenses
In 1975, Mamiya introduced the M645 with a 6x4.5cm
format. The high end M645-1000S followed a year later in 1976 and a trimmed
down version, the M645 J followed in 1979. These older SLR's are hardy,
reliable and continue to be professional workhorses (albeit heavy). The one
fault with them for professional use is they do not have interchangeable film
backs. The film insert goes directly into the camera back. This precludes
changing film types in mid-roll. It also precludes using a "Polaroid back."
During the early 1980's the initial SLR line phased out with the TLR's and was
replaced with the RZ67, 645 Super, and M645 PRO. These were the foundation of
the current line of Mamiya SLR's.
Pentax Medium Format Camera Lenses
The Pentax 645N is an autofocus medium-format SLR. It is completely compatible with all Pentax 645 film backs and 645 lenses, both manual and auto focus.
This is Pentax' second medium format 645 camera. It replaced the manual-focus Pentax 645, and was later replaced by the very similar 645N II.
The P67 body looks like a large 35mm SLR, and comes with mirror lock up (MLU), focal plane shutter with electronic shutter timing (1/1000 to 1 second, B, T with fiddling...), and flash sync outlet. Both metered and non-metered prisms are available, as is a waist-level finder. The body takes 120 and 220 film - there's a backplate switch for this which also affects the winder and frame counter. Several different viewing screens are available, including split, plain, and grid.
Rollei Medium Format Camera Lenses
The company's founders Paul Franke and Reinhold Heidecke wanted to build cameras which were perfect and easy to handle. They wanted to make photography not only accessible to the professional photographer but to the wide range of amateurs. In 1929, the result was the legendary "twin-lens" which became the standard tool of professional photographers and the dream of every amateur enthusiast. The "twin-lens" formed the beginning of a long line of product developments. Others followed and among them the launch of the Rollei 35 in 1966, the Rollei SL 66 with built-in bellow, the first electronically controlled medium format camera Rolleiflex SLX, the 35 mm SLR camera SL 2000F with interchangeable magazines or the dissolve projectors which still are unique. Always on the assumption that products bearing the name Rollei represent something special, they must be of high optical and mechanical precision, be easy to handle and to operate, and be durable and of lasting value. In this context, new products for digital imaging and close-range photogrammetry open up new fields of applications.
The Rollei 6000 series of cameras is highly underrated in the North American environment. In Europe its popularity meets or exceeds that of Hasselblad.
The Rollei is the most innovative and more importantly useable 6X6 medium format camera on the market. There are 3 cameras in the line; the 6008 Integral, 6003 Professional and 6001.
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