Mamiya super 23 repair

Does Mamiya repair and CLA their old camera? Anyone tried that? I really doubt it. You would be better off taking it to a professional camera repair facility.

Any suggestions for repair facility? They don't support the Press system anymore.

mamiya super 23 repair

Not sure if he's still repairing them, but he was a couple of years ago. You can try contacting him at gmhsint cox. He's an honest guy and a great source of information.

I had a couple of repairs done boathouse restaurant wildwood a local Mamiya repair shop in Chicago. Depending on the issue, you're often better off replacing the item many times because it's cheaper. Tony's pointers saved my Standard 23 and my wallet from buying a weathered down Hasselblad C Pentaxpete Originally posted 71 months ago. Bruce edited this topic 71 months ago. Sign up for a free account, or sign in if you're already a member.

Flickr logo. If you click it, you'll go home. Sign Up Explore. Upload Sign In. Go back to the beta groups experience. See more. Photos Discussions Members Map About.

Sekor mm f3. Hello, recently i purchased a Mamiya Super 23 black with the Sekor mm f3. Mamiya Universal Press Rangefinder Adjustment 5 replies. I think I need to adjust the parallax in the viewfinder of my Universal Press be Mamiya press super 23, what to look out for? Has anyone tried this? I'd like to shoot some 35mm panoramas in a medium format I recently bought the above lens and from a first roll on 6 x 9 it seems to be v Close focusing 1 reply.

Hey there guys and girls.Any content, information, or advice found on social media platforms and the wider Internet, including forums such as AP, should NOT be acted upon unless checked against a reliable, authoritative source, and re-checked, particularly where personal health is at stake. Log in or Sign up. Amateur Photographer. This site uses cookies.

By continuing to use this site, you are agreeing to our use of cookies. Learn More. REMINDER Any content, information, or advice found on social media platforms and the wider Internet, including forums such as AP, should NOT be acted upon unless checked against a reliable, authoritative source, and re-checked, particularly where personal health is at stake. Jan 11, You have to get under a dark cloth or jacket to see the effect on the focussing screen then lock it up before putting on the rollfilm back.

I have 65mm f6. The lenses are very sharp and 20x16" prints are easy to obtain. I have done many transparencies with this camera for an Agency but they have all been sent back un-used now as the Agency wants only 'Digital' and from 'Full-Frame' Cameras.

I have two 6x7 format and one 6x9 format back-- the foam seals have all gone rotten and I had to have a go to replace them lately.

Example of 'Scheimpflug Technique with mm f5. Jersey Zoo, mm f5. I had a Super 23 outfit in the early 'seventies but I couldn't find enough work to keep it busy, so I reverted to my Linhoff 5x4 and a Yashicamat, which suited the work I was doing better.

I also picked up the Polaroid variant a few years later for a bargain price, accepted my wife's decision that it would be too expensive to run and sold it on to a dealer friend the same day, for twice the money!

They were good cameras, if they fitted your needs. Unfortunately, I only have a couple of scratch darkroom test prints left from that camera, nothing like your excellent stuff Jan 12, Thanks for viewing -- great sharpness on the Girl's eyelashes! Well-- I have not used my Super 23 for a long time but it is still here in my workroom. Didn't get me any work as usual of course! Jan 13, I had two: an all-black Super 23, and a Universal.

I also had a complete collection of backs: 6x9, 6x7, a "K" which gave you 6x9,6x6, or 6x4. I never did have much success in developing film from the cut-film holders, though. I seem to remember having two focussing backs, one of which was a 'right-angle' viewer.

And much of it depending on current needs fitting into what must have been the biggest Billington bag in the world. I acquired that kit over a period of about 5 years -- but then I also got interested in the newly emerging 'video' scene, and finally drove all the way to Jessops in Leicester their only store at the time and part-exchanged it all for some video gear.

Still, I have the negatives and transparencies from those days, still looking as good as new, and occasionally scan one or two of them. You must log in or sign up to reply here. Show Ignored Content. Share This Page Tweet. Your name or email address: Do you already have an account?Share This Page. Thread Tools. Mar 7, 1. Messages: I bet this has been discussed many times. Or is it not good wide open but better stopped down? How are you shooting the lenses to come up with your opinion? How are the lenses for the Polaroid version and can they be used on the Universal?

For me, I shoot stopped down almost all the time if that makes a difference. I'm a daylight shooter. You'll rarely find me out shooting in the dark with a lens wide open. I'm thinking of buying the 65mm lens next. Mar 7, 2. I used a mm f3.

Mar 7, 3. Mar 7, 4. It's simple and has good contrast. Not incredible, but certainly not bad. The tessar is a solid lens design. It has a rubber grip focusing ring rather than the bare metal. I've never seen one except in pictures.

Mar 7, 5. Messages: 5,The Mamiya Super Mamiya introduced the Super 23 in and it would be the next to the last design the company would release as part of their series of "press" cameras. The term "press camera" was already an anachronism when the model was introduced as photojournalists had long since adopted the 35mm camera as their tool of choice.

Instead, Mamiya found willing customers for the new camera among the ranks of professional photographers who appreciated the Super 23's combination of quality, versatility, and fast handling ideal for the bread-and-butter work of wedding, portrait, architectural, and studio photography. The Super 23 and its sister camera, the Universal Mamiya's final press camera design released in '69would dominate the final years of the press camera market by offering photographers far more versatility and value when compared to competitors such as the Graflex XL, the Koni-Omegas, or the various medium format Linhofs of the day.

Mamiya Press Super-23 Service Manual

The Camera Super 23s follow the basic design criteria of the press camera as they are rangefinder focusing, medium format cameras offering interchangeable lenses and backs. Mamiya's design stands out as unique by combining the most useful features of all the press camera models in a single unit. Corners of the frames show coverage of these lenses in both the 6x7 and 6x9 formats. All of the lenses produced by Mamiya for the camera provide coupled rangefinder focusing.

Super 23s actually handle like much smaller cameras due to the effectiveness of the standard handgrip that allows for a steady hold in either the vertical or horizontal position. Two revolving keys on the back of the body allow for the attachment or removal of rollfilm holders and other attachments. The four knobs on the sides of the camera are what make the Super 23 so unique.

mamiya super 23 repair

The Lenses Mamiya offered a wider range of lenses for the Super 23 than any of the competitive systems. Ten different lenses in eight different focal lengths were available to Mamiya users, all rangefinder coupled in helical focusing mounts. The lenses used the reliable Seikosha 0 shutter and provided for flash sync at all speeds.

Wide angle lenses included focal lengths ranging from the 50mm extreme wide angle to the general-purpose 65mm to the very moderate 75mm. Each of these lenses was supplied with its own parallax-corrected viewfinder that would attach to the accessory shoe on top of the camera body. Focusing was achieved using the coupled rangefinder and the separate viewfinder would be used for framing and composition. Intended for use as a normal lens on a Universal equipped with a Polaroid back, a mm lens was also offered.

Lens accessories included various styles of metal and rubber lens hoods and screw-in filters sized for each lens. An extension tube set was available for extreme close-up work that allowed magnifications of up to 1.

Super 23's tilting back and locks. Camera Backs And Accessories The standard backs for the Super 23 were lever-advanced rollfilm holders for either the 6x7 or 6x9 format. By adjusting the pressure plate in the holders, users could set the back to handle either or film. Advancing the film required two strokes of the lever. Called the Focus Screen Holder, it provided accurate viewing of the subject through the lens. The holder also permitted insertion of Mamiya's plate or cut film holders for a single 6x9 exposure.

A rare accessory today is the Reflex Viewer that provided a right-side-up, waist-level viewfinder when used with the ground-glass back. One final rollfilm holder worth noting was called the "K" back. This unit offered three formatsx4.Advantages of Mamiya Universal Body over Super 23? I'm really interested in the Mamiya press cameras and have a question about the Universal body, versus the Super 23 body.

Are there other advantages that the Universal body has over the Super 23? Other than being able to extend the bellows to the rear, are there other advantages that the Super 23 body have over the Universal body? The Universal is a newer model. It accepts Polaroid backs. The Super 23 doesn't.

The Super 23 back doesn't just extend. It swings and tilts, too. Is there any difference in the finder, like brighter frame lines or something? That helps. I was wondering if it worth getting a Universal. It doesn't sound like it.

As with the Super 23, once you move or extend the back at all, or use any extension tubes, the rangefinder becomes useless and you must use a focusing screen back attachment. IIRC, the 75mm lens has both the image circle and the deep rear element to bypass body vignetting and illuminate 4x5; the other lenses less so. One other reason to get a Universal rather than a Super 23 is an indirect one - if you also have an RB67, you can use all the Universal's "rear bits" M-adapter, M rollfilm backs, Polaroid backs, back extenders and focus screen attachments on the RB Of course, you can use the Super 23's M rollfilm backs on the RB67 too, but you'd have to buy a separate M adapter and they sell for stupid prices on their own, mainly because they're sought by Polaroid SE owners looking to add rollfilm capability.

You must log in or sign up to reply here.

B.Film Camera -- Mamiya Press Super 23

Show Ignored Content. Share This Page Tweet. Your name or email address: Password: Forgot your password?The Mamiya Press viewfinder is quite nice; large and normally bright. This is what happened to my camera, and on one rainy day I decided to radically change the situation. I started by removing the top cover. This was easy enough; just unscrew three Phillips headed screws one on either side and one at the back and another screw that holds the lens focal distance slider at the back.

Once that's done, the top just lifts off.

mamiya super 23 repair

Unfortunately, there is not much to gain with the removal of the top, because all it does is lets you marvel over the complexity of the rangefinder mechanism.

I would advise against tempering with it, unless you are a professional repairman. But then you wouldn't be reading this. The trouble is, that it is not possible to get to the inside surfaces of the glass covers and the front and rear eyepieces of the viewfinder from here.

mamiya super 23 repair

So, back the cover goes. Try something else So, there is no other choice, but to take a drastic step and pry it off.

Advantages of Mamiya Universal Body over Super 23?

Luckily, on mine the glue they used was shellac, which could be softened somewhat with methylated spirits. Apply the fluid around the edges with, say, a pair of tweezers and let the capillary action 'suck in' the liquid. Don't soak the system with methylated spirits, though, because it might flow into places where it could cause damage - such as on the mirrors of the rangefinder.

Then, carefully stick a sharp implement under the plate and gradually separate it from the glass. Start at the narrow places. The hardest will be around the round rangefinder window, where they used a lot of glue. The following pictures show the black metal cover plate removed and the glass pieces underneath. You can also see the surgical scalpel I used. It was a major operation, you see. Cleaning these pieces of glass already helps somewhat, but more is needed.

To dig deeper, the front of the camera should come off. And this is not all that hard to accomplish. First the leather cover needs to be removed. Again, it is glued on with shellac, so the above mentioned procedure applies here, too.

The same holds for the name plate. Under the leather and nameplate we can see eight brass screws. These hold the camera front and middle section together. Caution: these screws are hard to undo, so use a good screwdriver with a perfect fit. There are four bolts at the corners covered by silver disks. They are for the extensible back - don't worry about these. The 'belly' of the camera cut open.Good to hear from you, Bill.

Sounds like you've been keeping busy. Nice Mamiya, too. Looks what, mid s? I've been told these are from the late 60s. There were some completely black ones that looked much nicer that were made later than these.

Modify Instax Wide 300 for Mamiya Press & Polaroid 600SE Lenses

I've never been able to find accurate manufacturing dates for either series. Interesting post. When my daughter was in college majoring in photography at the time and working for the Pier 1 photo studio, she bought a Mamiya from one of the professional photographers there. It was her prized possession for years and years. Mamiya made some great med. The RBPro was absolutely fantastic, but expensive.

The slightly lighter RZ67 is also excellent and a bit lighter although it lacks some functions of the RB. That Mamiya looks like a very well built camera. Ha ha - I suffered through a few Nikkormats. Mamiya wise, I also loved my cf. You are tempting me to haul it out. Lens functionality is what I like about Nikon. Any lens will fit any camera. Not all couple to the older metering mechanics, but unlike all the other companies that went to cheaper quality more expensive for the consumer motorized lenses Nikon stuck by their lenses.

I used and sold many Minolta cameras and when Minolta switched lens design I changed to Nikon 35mm. The CF was a workhorse of a camera too. I no longer have the G. Ohhhhhh Now that's a great camera. All of the Mamiya gear is top-rate. I find Mamiya greatly under rated. They are really good cameras and lenses. I really enjoy these camera posts!

That Mamiya looks like one tough camera. I'm glad you like them. I never know how deeply to go into the details of the cameras or accessories. For medium format these are great.

I have some smaller medium format, but they loose some of the functionality. Now there's a heck of a camera! I'd love to play with one, but I doubt the consumables can be had as cheaply as the more common 35mm.

All depends on where you buy. Then there are only 12 6 x 6, 10, 6 x 7, and 8, 6 x 9 frames per roll; twice as many with Looking at the number of exposures the costs are generally 2 to 3 times that of shooting 35mm. The cameras are quite plentiful on the used market and way over priced on Epay. Lenses though are a different story and many times the view finders are not available for them making sharp focus a problem unless shooting landscapes.


Leave a Reply

Your email address will not be published. Required fields are marked *