Mamiya was a long-standing name in the Japanese camera industry but, despite many attempts, it never really had success with its 35mm cameras. However, in the medium-format roll-film camera market, Mamiya has long been a name to reckon with, as it produced some of the finest 6x6 TLR (twin lens reflex) cameras ever made.

Mamiya started in 1940 with the formation of Mamiya Koki Seisakusho, by camera designer Seichi Mamiya, and the introduction of the Mamiya Six, a 6x6 folder with an unusual focusing mechanism that moved the film plane rather than the lens.

Then came a series of 6x6 TLRs under the Mamiyaflex Junior name, which were all inspired by the basic Rollei designs.

Success came in 1949 with the introduction of the Mamiyaflex Automat A, which was the first Japanese TLR with an automatic film advance, rather than looking for a number through a red window in the camera’s back.

In 1956 the Mamiyaflex C was introduced, which revolutionized TLR design by offering interchangeable lenses. It beat out the Koni-Omegaflex, the only other TLR to offer interchangeable lenses, by 12 years!

Offered were 80mm, 105mm and 135mm lenses – each with its own leaf shutter. Lenses could be swapped without exposing film, thanks to an interlocking baffle that protected the film.

The C also introduced Mamiya’s now-famous double extension bellows for close focusing and a never-before-seen flat film path. In conventional TLR designs, film from the bottom supply spool bends sharply upward to reach the film gate and then the top take-up spool. This can cause uneven film flatness or worse, scratches during the film’s transport.

Mamiya’s more direct path solved these problems, with only a slight addition in height. Its TLRs were truly professional.

In 1958 the C became the C2, which added a second focusing knob on the left side, facilitating right- or left-handed operation. Both used rack-and-pinion focusing with distance and bellows extension scales, but the C2 redesigned the base to provide better stability without front feet.

Both the C and C2 models use a knob to advance the film, with the automatic advance of the original C, but the C2 offered an additional two lenses, at 65 and 180mm.

The "Mamiyaflex" name would be dropped in favour of the simpler “Mamiya" when the C3 was introduced in February 1962. The C3 offered a faster crank lever film advance, while the C33 of 1965 added automatic shutter cocking (when the crank lever was advanced) and a pointer in the finder to indicate parallax compensation.

I was in high school when a friend acquired a nice, new C3 with a pair of lenses – and I thought it was one of the most beautiful creations ever devised. But, as luck would have it, I never managed to own one.

The "C" system proved very successful, and a series of popular Mamiya models followed until 1994. Mamiya also made both the C220 and C330 model TLRs and a series of successful, professional-level 6x7 and 6x4.5 film cameras that used either 120 or 220 film.

In 2004 Mamiya released its ZD, a 22MP digital back designed to fit its 645AF cameras, but production of all Mamiya cameras ceased around 2011.

After Phase One bought Mamiya, in 2015 a few 645 models were produced with digital backs, under the Mamiya / Phase One brand, but the Mamiya name was soon dropped. Still, a few compatible C-series, Sekor lenses remain in limited production – even today.

Read more of David Young's ongoing series on classic cameras.

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Take a look at the best film cameras and the best medium format cameras.

These retro Diana F+ cameras come from the hipsters at Lomography, and bring back a celebrated medium format camera from the 1960s. But you can forget your Hasselblads, your Rolleiflexes and your Mamiyas. These are ultra basic, ultra-simple plastic snapshot cameras. Kitsch is king, and the more unpredictable the images, the better.

These cameras are not about image quality on a budget. They are about as far from the best medium format cameras as you can get. They are anti-tech, anti-culture, anti-quality – unless you consider creative quality as important as technical quality, which isn't a bad point.

And they are cheap. No, really cheap. They cost $89/£79 (around AU$150), and that includes a matching Diana+ Flash. This is the only bit of the kit that requires battery power, incidentally, and only a single AA cell at that.

The Lomography Diana F+ now comes with two more color options - as Lomography has brought back two special edition variants from a decade ago. The gaudy CMYK version is presumably a nod to creatives in the print industry, while the Black Jack edition hints at the gamble everyone takes when they pick up these cameras. (Black Jack or Blackjack? Hmm.)

They are basic in the extreme, with a single 1/60sec shutter speed plus B, and a fixed 75mm lens with apertures of f/8, f/11, f/16 or a pinhole option. You can also pop on an optional glass optic, sold separately, which leaves us in little doubt what the regular lens is made of.

Lomography isn't playing down this primitive technology, it's bigging it up, celebrating the lens vignetting and the camera's unpredictability. You can make multiple exposures to add to the randomness and attach the included Diana F+ Flash for conditions too dim for available light exposures, which is likely to be anything taken indoors.

The Diana F+ takes medium format 120 roll film and shoots 12 full frame square shots on a roll, or 16 narrower ones. The negative size is a whopping 60 x 60mm, and around four times the size of a 35mm film negative, and Lomography does also sell 120 films for this camera, though you may have to hunt around for local labs that can develop them.

There have been dozens of colorful Diana F+ variants over the years – but the standard, and most widely sold version, comes in turquoise and black.

Lomography champions a kind of low-fi counter-culture that's an antidote to the sterile precision of modern digital cameras, and aims to restore the excitement, unpredictability and discovery of an earlier photographic age – so these new Diana F+ cameras should fit right in. 

We do have a guide, by the way, to the best Lomography cameras, but we might just have to add these in too. Whether or not they qualify among the best film cameras will depend on how you feel about their unique rendering of the world!

An astounding collection of cameras from Flints auction will be available for bidding tomorrow (November 17, 2022) in an auction titled Fine Photographica. Some of the rare and marvelous cameras on offer include gold-plated Hasselblads as part of the '100 Years in Photography' and '50th Anniversary' special editions. 

There's even a '20 Years in Space' Hasselblad camera that was produced in a batch of only 1500 units to celebrate 20 years of Hasselblad's participation in the NASA Space program. Other notable cameras to be auctioned include a Golden Lizard skinned Mamiya RB67, and a Golden Blue Hasselblad 503CX estimated at £3,000.

• These are the best medium format cameras

Flints Auctions is an independent firm that was founded in 2016, and comprises an expert team of auctioneers and valuers, regarded as the leading auction house for the sale of Antique Cameras in the UK. We saw Flints this year at The Photography Show where they brought a whole roster of extremely rare cameras with them.  

This specialist and rare camera equipment at auction from Flints will take place on November 17, 2022 (tomorrow) at 12:00, and comprises a total of 299 different lots - amassing thousands of dollars/pounds worth of unbelievably unique cameras, as well as some pretty peculiar vintage accessories. 

One of the quirkier camera body's on offer is a Leica M4 Rangefinder from 1966 that has been fire damaged, totally chargrilled, yet is still expected to fetch between £400 to £600 ( approximately $475 - $712) at the auction, due to the camera being part of the very first batch of production.

The Anniversary Hasselblad cameras on offer include a '100 Years in Photography' 1985 Hasselblad 2000FC/M in black & gold color, with a Carl Zeiss Planar T* f/2.8 80mm lens, as well as paperwork, a presentation box, and maker's box.

Another fascinating Hasselblad from the auction includes the 1991 Golden Blue 50th Anniversary 503CX, featuring a 24-karat gold plating with blue leather trim. The complete lot includes what looks like a well-kept collector's presentation box with not only the golden blue Hasselblad, but also a strap, Carl Zeiss Planar T* f/2.8 80mm lens in the color black/gold, and a maker's box. 

The other show-stopping Hasselblad is the previously mentioned '20 Years in Space' 1982 Hasselblad 500EL/M that was produced as part of a limited run of 1500 cameras to commemorate Hasselblad's involvement in NASA's Space program. The camera comes included with a chrome Carl Zeiss Planar f/2.8 80mm lens and a maker's box. 

The auction will feature varying types of photographic equipment from vintage Leica display stands, and Leica binoculars, to specific lens hoods and original instruction books for certain models, to crazy expensive Leitz lenses.

Speaking of expensive lenses, the lot and item estimated to fetch the most money in tomorrow's auction is the A Meyer Gorlitz Primoplan f/1.9 50mm Lens, a Rangefinder-Coupled M39 Mount, chrome color lens with some light internal haze and a few cleaning marks. 

The video below provides a closer look at the lens in question, showing off the finer and intricate details. 

Be sure to take a look at the full catalog of Flints' rare photographic items that will be available during tomorrow's auction, head to the Fine Photographica landing page on the auction website. 

• You may also want to take a look at our picks of the best Hasselblad lenses, and the best Leica cameras, as well as the best Leica M lenses, and also the best rangefinder cameras. Check out our review of the Hasselblad X1D II 50C.

As the capital city of the United Kingdom, London has always been a melting pot of multiple cultures and classes. A 15-year photographic project documents the unique evolution of this storied city via analog images – and it's collated in the photo book, London Unseen. 

The project is the work of photographer and native Londoner, Paul Anthony Scane, who spent a decade and a half documenting the unseen side of the city using some of the best film cameras ranging from 35mm to medium and large format, including Leica, Hasselblad, Linhof 4x5 and Mamiya 6x7.

• Check out the best medium format cameras

Away from the tourist trappings and well worn beats of Big Ben and Trafalgar Square, Scane headed out on foot and on his bike to document London's lesser seen side – from campy dry cleaners and abandoned tanks to a double decker bus appearing to maneuver a miniature golf course.

The collection truly is a celebration of the beating pulse of the city, capturing the character and soul of the real London with the affection of a real Londoner. Moreover, it's a wonderful collection of 35mm and medium format photography.

London Unseen is available now as a beautiful hardback volume consisting of 208 pages from publisher teNeues Books (ISBN number 3961713847). You can order it from Amazon using the link below. 

Read more: 

The best lens for street photography
The best books on street photography
14 street photography tips to use in the city with your camera

Handheld light meters were once essential, but built-in camera metering, histograms and electronic viewfinders made them far less common for everyday photography. Even so, they remain extremely useful for film shooters, studio photographers, and anyone working with vintage cameras or lenses.

The revival of film photography has given portable light meters a new lease of life. Many older cameras either lack a meter entirely or rely on systems that are no longer accurate. Compact models such as the Voigtländer VC Speed Meter II and TTArtisan Light Meter II can provide reliable reflected-light readings, helping you avoid poorly exposed frames and expensive wasted film.

More advanced meters can also measure incident light, which falls directly onto the subject and often gives a more accurate reading than a camera’s built-in meter. In the studio, flash-capable models remain invaluable for balancing multiple lights, with the Sekonic L-308X Flashmate standing out as an excellent all-round option.

Light meters are also useful for pinhole cameras, vintage lenses, and other setups where the camera cannot meter properly. They may seem intimidating at first, but they are straightforward once you understand the basics. These are the best light meters available now, along with how and when I would use them.

The best light meters in 2026

Best for most people

If you're looking for a light meter that covers all the main bases, isn't too bulky, and is comparatively good value, then the Sekonic Flashmate L-308X is an easy recommendation. It'll cover you for reflected, incident, and flash metering and is primed for both photography and video use (a welcome upgrade over the previous L-308S).

And while its feature set isn’t as extensive as a pro-grade unit, like the Sekonic L-858D Speedmaster, it’ll slip right in your back pocket when not in use. Perhaps the most off-putting thing about the Sekonic L-308X is that it’s rather ugly in comparison to some of the more retro offerings on this list. But what it lacks in style it more than makes up for in functionality. The presence of an LCD screen is a big upgrade for professional users who value ease of use and precision over busy analog dials.

It’s a shame the lumidisc – used to measure lux, footcandles, and contrast – isn’t included, but the sliding lumisphere is a nice feature, making it simple to switch between light-metering modes. But this meter really comes into its own when measuring flash setups. It’s particularly handy when balancing multiple lights, especially if you’re trying to accurately stop one light up or down in relation to another.

And above all, as I’ve come to expect with Sekonic light meters, it’s accurate. The Sekonic L-308X truly is a light-meter multi-tool.

See our full Sekonic L-308X review

Final thoughts

The Sekonic L-308X is a compact, reliable, and user-friendly light meter that strikes the right balance between simplicity and performance. It’s versatile enough to cover stills, video, and cine work, yet straightforward enough for beginners to pick up without fuss. While it lacks some of the advanced features of Sekonic’s higher-end models, its accuracy, portability, and accessible price make it an essential tool for photographers and filmmakers who want consistent, professional exposure every time.

Best for remote work

The Sekonic L-398A Studio Deluxe III is a piece of history – so much so that it was the basis of Sekonic's special edition 70th anniversary commemorative light meter. It's my pick for photographers always on the go because it doesn’t require a battery, meaning you’ll never be caught out, no matter where you’re headed. And if you’re into retro photography gear, you’ve likely already earmarked this light meter, because as far as these light-measuring accessories go, it’s arguably the coolest-looking one on the market.

But while the amorphous photosensor negates the need for a battery, it does hamper the light meter’s effectiveness in low-light situations, since the passive solar cell requires light for power. That said, it’ll work reliably in normal lighting conditions. Its retro design also makes it a little more fiddly than more modern options, as you swap between the lumisphere, lumigrid, and lumidisc to perform different functions. However, this is also part of its retro charm.

Where this light meter really excels is its build quality. From the dials to the overall build, everything feels extremely robust. And with a swivelling head, you can point the light-receiving element in any direction, while still being able to view the analog interface. You can also use it to calculate the correct aperture for a given framerate, making it a useful tool for videographers.

Ultimately, the Sekonic Studio Deluxe III L-398A isn’t for everyone, but for the right content creator, it’s an absolute classic.

Read our full Sekonic Studio Deluxe III L-398A review

Final thoughts

The Sekonic L-398A Studio Deluxe III is a beautifully made, battery-free analog light meter that delivers reliable exposure readings with a satisfying tactile charm. Its passive photosensor means it’s always ready to use, while the rotating dial, needle lock and interchangeable accessories make it versatile for both incident and reflected light. Best suited to film photographers and traditionalists who appreciate hands-on control, it excels in continuous light but lacks flash metering and can struggle in very low-light conditions. For those who enjoy a slower, more deliberate process, it remains a timeless and dependable tool.

Best for film

A light meter can be a pretty simple device to do a simple job. There are hugely complex light meters out there, like the Sekonic L-858D Speedmaster a little further down this list, but if you have a feeling you need something more straightforward, I'd happily recommend the Voigtlander VC Speed Meter II.

This legendary little meter is obviously the inspiration for the TTArtisan Light Meter that’s also on this list. But it’s universally agreed that the Voigtlander comes out on top when it comes to accuracy and build quality.

Weighing just 42g, this little device mounts onto your hot shoe and will sit there quite contentedly. There's no pairing or connection, so it'll work with analog cameras as well as digital. Anyone who is familiar with the ins and outs of exposure can probably guess how it works from looking at the aperture and shutter speed dials – set them to your desired exposure settings, take a reading, and adjust until you get a green light.

There's no flash metering, and it's powered by LR44/SR44 batteries, which can be harder to get hold of. But this is a great hot shoe meter for users of all types of camera.

Final thoughts

The Voigtländer VC Speed Meter II is a compact, shoe-mounted light meter that pairs beautifully with vintage rangefinders and other meterless cameras. Its simple dial-based operation and LED readout make exposure checks quick and intuitive, while its accuracy rivals larger handheld meters. Lightweight, stylish, and reliable, it’s a perfect choice for film photographers who want a discreet and dependable meter without compromising the classic look and feel of their camera.

Best budget

The TTArtisan Light Meter II is a step up from the previous incarnation, providing more accurate measurements. And while it doesn’t boast the best build quality on my list – the ISO dial is a bit fiddly, and the LED light indicators could be brighter – it still deserves its inclusion thanks to its incredible value.

It’s by far the cheapest light meter here and will get you where you need to go (if not in style). It even rivals the Gossen Digisix 2 as the best light meter for beginners, since it’s extremely easy to use. You have three dials to set ISO, aperture, and shutter speed, a single button that both powers on the device and takes a reading, and simple minus, dot, and plus LED indicators to register underexposure, correct exposure, and overexposure, respectively.

Since it’s only a reflected meter, there’s really nothing else to it. If that all sounds good to you, but you’re looking for a more premium product, you could opt for the Voigtlander VC Meter II, which the TTArtisans Light Meter II is surely based on. But if you’re new to the world of light meters and want an easy-to-use reflected device at a decent price – especially for film camera use – I can heartily recommend the TTArtisans Light Meter II.

Read my full TTArtisan Light Meter II review

Final thoughts

The TTArtisan Light Meter II is a compact, affordable shoe-mounted light meter that’s perfect for film photographers wanting a simple and reliable exposure tool. Built from lightweight aluminium, it offers easy dial controls, LED readouts, and good accuracy for everyday use. While the ISO dial can be fiddly and the build less refined than pricier options, its portability and value make it an excellent entry-level choice for those shooting with classic, meterless cameras.

Best for beginners

Weighing just 40g, the Digisix 2 is small enough to fit in a shirt your trouser pocket or hang around your neck via a small strap loop in the base. It offers reflected light readings over a 25 degree angle and incident readings via a sliding translucent dome. It displays a digital readout is in EV, which you then have to transfer to an external dial which then indicates matching shutter speed and aperture values.

What's great about the Gossen Digisix 2, apart from its size, is its speed and simplicity. The exposure readout is visible on the top as you point the meter towards your subject or the camera and a single click of the measurement button captures a reading which is stored and displayed right up until you click the button to take another – giving you plenty of time to transfer your settings to the camera. The diffuser slides over the metering cell with a flick of your thumb, making incident readings as simple as regular reflected readings. The Digisix 2 doesn't do flash metering, but there is a Digiflash 2 version which does.

Non-US readers should be aware that the Gossen Digisix 2 is getting a little hard to find in other territories, so you may want to consider an alternative option.

Final thoughts

The Gossen Digisix 2 is a compact, lightweight digital light meter that combines incident and reflected readings with useful extras like a timer, clock, and temperature display. Its LCD and dial make exposure settings clear and intuitive, while accuracy and portability make it a strong companion for manual shooters. Though the ISO dial can be fiddly and its always-on design may drain batteries if not stored carefully, it remains a versatile, feature-packed option for those wanting a small but capable meter.

Best retro

Where the Digisix 2 uses a multi-mode digital readout, the Sekonic L-208 Twin Mate is an analog device that indicates the light level with a swinging needle. You turn a dial to line up an index marker with the needle position, then read off shutter speed and aperture combinations off the same dial.

It's also the cheapest light meter in the current Sekonic range and although more affordable light meters certainly exist, you’re getting a reflected and incident meter from arguably the most respected light-meter brand out there.

It doesn’t boast the reassuring build quality of the Sekonic L-398A Studio Deluxe III, but its plastic casing does make it light as a feather. So light, in fact, I barely noticed it. And while I don’t think its interface is as simple to read as the Voigtlander VC Speed Meter II and Gossen Digisix 2, I still consider this a beginner-friendly meter. I really like the battery capacity checker, too, helping to ensure you never find yourself in a tight spot when you’re out in the field.

I did find the position of the tiny light-receiving element a little difficult to point accurately at my subject, but otherwise, this is a solid light meter that’ll serve the average user very well indeed.

See our full Sekonic L-208 TwinMate review

Final thoughts

The Sekonic L-208 TwinMate is a compact, easy-to-use analog light meter that’s perfect for film photographers using meterless cameras. Offering both incident and reflected readings with its sliding lumisphere, it delivers quick, accurate results through a simple dial system. Lightweight and reliable, with excellent battery life, it’s a no-frills tool that combines portability and practicality for everyday shooting.

Best for professionals

This high-end meter offers reflected spot metering, incident metering for both 3D and flat subjects via a retracting/rotating Lumisphere, Cine and Cine HD modes and extensive support for flash, with the ability to measure flash duration, flash vs ambient ratios and wireless flash triggering – plus high-speed sync support and flash duration measurement. Launched in 2016, the Sekonic L-858D was touted as "the most advanced light meter ever".

The key thing to understand about the L-858D is that it's two specialized meters in one. It offers spot reflected readings via an eyepiece on the side and ambient readings via the rotating Lumisphere on the top, which can also be retracted/extended to suit different lighting characteristics.

This is not, however, a meter for the fainthearted. Instead, it's a high-powered professional meter for photographers and cinematographers who know exactly what they're doing and just need the right tool to do it with.

Final thoughts

The Sekonic L-858D is a professional-grade light meter that combines incident, reflected, and 1° spot metering with advanced tools for both photography and cinema. Its touchscreen interface, wide EV range, and ability to measure flash duration, high-speed sync, and ambient/flash ratios make it one of the most versatile meters available. While the menu system takes some learning, its accuracy, flexibility, and optional wireless flash control cement it as a top choice for professionals working in complex lighting setups.

Best modern option

The Gossen Digisky is a compact, multi-function exposure meters with an impressive features. The device supports up to four flash groups over eight radio frequencies, and three groups of still camera settings may be defined at a time, in addition to a single preset for video settings.

The retractable diffuser head enables incident and reflective light to be measured, while a flash sync socket at the unit’s base means it can be connected to external lighting sources.

The body is constructed from matte-finish plastic, with a glossy front fascia; the build resembles that of a budget compact camera, a little disappointing considering the cost. There’s less to complain about with handling, though: the M button used for taking readings is large and presses firmly into the body, and it’s positioned so that the thumb naturally falls onto it when handled. The Digisky does what it sets out to do very well, and its color LCD is both pleasing to use and brings with it a practical benefit.

Final thoughts

The Gossen Digisky is a modern, pocketable light meter offering incident, reflected, flash, and cine metering with a clear LCD and intuitive controls. It supports wireless flash groups, USB charging, and preset profiles, making it versatile for both stills and video. Though its plasticky build and high price may deter some, its feature set and portability make it a strong option for photographers and filmmakers seeking a digital all-rounder.

Best for Leica

The Keks M-Meter isn’t just a light meter - it’s a reimagining of a timeless tool, made for today’s film photographers who want both reliability and elegance. In an age where many modern accessories feel out of place on classic cameras, the Keks manages to do the opposite: it blends in. Designed specifically to sit neatly in the cold shoe of vintage rangefinders, it brings accurate, easy-to-read exposure metering without altering the camera’s silhouette or soul.

It’s a particularly perfect match for Leica’s meterless classics like the M2, M3, M4, and M-A. With its low profile, clean lines, and thoughtful finish options - chrome, matte black, or glossy black paint - it feels less like an add-on and more like it was always meant to be there. It doesn’t just look the part either. The Keks M-Meter is solidly built, with an aluminium body that feels durable without being heavy. The display is bright and crisp, the interface is minimal but effective, and it offers just enough customisation- like aperture or shutter speed priority modes - to suit the needs of most film shooters without becoming fiddly.

What really makes the Keks stand out is how it integrates into your process. It doesn’t demand attention; it supports the flow. You simply turn it on, meter, and shoot - leaving the guesswork behind while still preserving the tactile, deliberate rhythm of film photography. Whether you're out in changing light or working slowly on a tripod, it brings a new level of confidence to exposure decisions, especially when paired with slide film or low-latitude stocks that demand precision.

At around $120 to $140, it represents excellent value for money, especially considering the combination of build quality, functionality, and aesthetic sensitivity on offer. There are cheaper meters, sure, but few look this good or work this seamlessly with Leica’s meterless rangefinders. Keks clearly understands its audience - film photographers who care as much about the feel of their gear as the results it delivers.

This isn’t a gimmick or a novelty accessory. The Keks M-Meter is a proper photographic tool - one that respects the cameras it’s designed for and earns its place in your kit every time you shoot.

Read our Keks M-Meter review for more details

Final thoughts

The Keks M-Meter is a stylish, USB-C rechargeable light meter designed for Leica M film cameras, combining accurate readings with a sleek OLED display and intuitive controls. Built from aluminium or brass to match Leica aesthetics, it offers reliable performance and a quality feel, though the snug fit and slow battery drain mean it benefits from regular charging. For Leica users wanting a modern yet unobtrusive meter, it’s a perfect companion.

Choosing a light meter

Eight things you need to know about light meters

1. Angle of coverage

With in-camera, through-the-lens metering, the angle of coverage is determined by the lens fitted to your camera, or by the metering pattern you have selected, such as spot, centre-weighted, or evaluative. Handheld meters work differently. They usually have a fixed angle of coverage, often around 40 degrees, so you need to be aware of exactly where the meter is aimed when taking a reading.

2. Spot metering

More advanced handheld meters often include a spot metering mode. This lets you look through an eyepiece and place a very small metering area over a specific part of the scene. It works in a similar way to your camera’s spot metering, but can make it quicker and easier to take readings from several different areas before deciding on a balanced exposure.

3. Incident metering

Incident metering uses a translucent dome placed over the meter’s sensor. The reading is taken from the subject’s position, with the meter pointed back towards the camera. Rather than measuring the light reflected by the subject, it measures the light falling onto it. This means the reading is not influenced by whether the subject is particularly bright or dark, making it especially useful for portraits, product photography, and still life work.

4. Flash metering

Most handheld meters can also measure flash output, usually using the same incident dome from the subject’s position. This is particularly useful in studio lighting, where you may want to balance several lights accurately. Without a dedicated flash meter, you are often left relying on trial and error with manual flash or TTL metering systems that may not be available or consistent with studio setups.

5. Sensitivity range

Handheld meters do not always outperform in-camera meters in very low light, so it is worth checking the sensitivity range if you regularly shoot in darker conditions. A minimum sensitivity of EV0 will be enough for most artificially lit scenes, but moonlight can fall to around -2EV, while starlight can be much dimmer still, reaching approximately -6EV.

6. Analogue vs digital display

Traditional light meters, along with some modern budget models, use an analogue display. Typically, you align a needle and then read off the available aperture and shutter speed combinations from a dial. Digital meters present readings numerically, often in EV, although many also show direct exposure settings for faster, more practical use.

7. Aperture and shutter priority modes

Many modern digital light meters include aperture and shutter priority modes, much like a camera. This allows you to set one value, such as the aperture, and have the meter calculate the correct shutter speed. Some models also let you lock both aperture and shutter speed, then calculate the ISO needed for the exposure.

8. Cine modes

Handheld meters are still widely used in professional video and cinematography, where lighting needs to be measured and controlled precisely. Some models include dedicated cine modes, with settings for specific frame rates and shutter speeds. Others are designed for cinema cameras that use shutter angles rather than conventional shutter speed values.

How I test light meters

My colleagues and I compare a wide range of accessories, including light meters, to understand where each model performs well and where its limitations lie. We look closely at key factors such as reflected and incident metering, angle of coverage, display layout, handling, and how easily readings can be interpreted in practical shooting situations.

We also assess how each meter performs in real-world use, taking into account battery life, EV sensitivity range, build quality, size, and overall weight. These findings form the basis of our buying guides and reviews, helping ensure our recommendations are not only technically accurate but genuinely useful for photographers working in the field or studio.

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Understanding the exposure triangle is essential if you want to make the most of the best light meters. And make sure you take a look at this Photography cheat sheet: camera metering modes at-a-glance. For those interested in studio portraits, here are some essential tips and setups.

When I last wrote about at the options for shooting with medium format film cameras back in 2016, there was a bit of a question mark over the continued availability of rollfilm. It certainly tempered any enthusiasm for spending a reasonable amount of money on, say, a classic Hasselblad. While the choice of rollfilm stocks is certainly a lot smaller than it was when medium  format was the choice of manyprofessional photographers, the old favourites are still available in B&W, colour negative and colour transparency. And there' seemingly enough interest to keep this going. For anybody contemplating getting into (or getting back into) film photography, 35mm looks like the obvious choice as there is a huge selection of cameras to choose from, either second hand if you want an SLR or a rangefinder type, or new if you want something a bit quirky. But medium format adds a bit more to the experience with the handling of rollfilm and the camera operations, particularly with boxform cameras. There is also quite a variety of cameras from SLRs to fixed-lens rangefinder types, and not all are fully manual, mechanical machines as, latterly, automation did find its way into the medium format camera world. However, don’t expect the point-and-shoot convenience of a digital camera.

Most medium format film cameras will make you work – some harder than others – but that’s part of the attraction. So is the size. Even the non-reflex designs are still pretty chunky, but something like the Mamiya RB67 is a beast – big, heavy and very noisy.

Rolling up

Rollfilm was responsible for popularizing photography at the end of the 19th century and, over time, there have been numerous formats with 120 slowly becoming the standard (although it dates back to 1901). Today, 120 is the sole survivor and this overview concentrates on cameras for this film size… which are all higher-end models from after the Second World War.

As the name suggests, rollfilm is a roll of film that is wound into a spool along with a backing paper. There is no light-tight cassette, but the backing paper ensures that the film can be taken out of its packaging in daylight without fogging the edges. Nevertheless, it was still always advised to load the camera in subdued lighting and certainly not in direct sunlight. Loading involves feeding the film’s leader paper onto an empty take-up spool – which would have been the loaded spool from the previous film, swapped into the take-up position when it was finished – then winding on a little, closing the camera back and completing wind-on to the first frame. Once the roll is completed, there’s no need for rewinding as all the exposed film is now on the take-up spool, ready to be removed from the camera and processed. To ensure it remains tightly rolled up – to avoid any fogging – a sticky tag is provided to secure the end paper. In the day, many amateurs were put off using medium format cameras because it was perceived that loading and handling rollfilm was tricky and it was too easy to make a mistake. In reality, it’s all fairly straightforward and it only takes a couple of loads before it becomes second nature. A few medium format cameras do have certain loading idiosyncrasies, so it isn’t always a straight thread from the feed spool to the take-up spool, but in most cases it’s pretty easy to work out the procedure.

The key thing to remember is that rollfilm is essentially ‘naked’ when it’s out of the packaging and out of the camera, so it needs to be handled accordingly with regard to any exposure to bright light.

120 rollfilm is 61mm in width, which dictates the designation of the various formats or, more specifically, image sizes. The classic format is 6x6cm, which was once more commonly called “two-and-a-quarter square” based on the frame’s dimensions in inches. Six-by-six was the most popular medium format image size for a long time as it allowed for many cropping options when shooting with cameras that weren’t practical to use in the vertical or portrait orientation… such as the twin lens reflex (TLR). However, various rectangular frame sizes became available over time, most notably 6x7cm and 6x9cm for a larger image area, and 6x4.5cm for a smaller one. With the 6x4.5cm format, the frame is on its side – i.e. in the vertical orientation – so these cameras are held vertically if you want the landscape framing. The attractions of 6x4.5cm are more compact cameras and lenses, and up to 15 frames from a roll of 120 film versus 12 with 6x6cm and just 10 with 6x7cm. 

In 1965, a double-length 220 roll film was introduced using exactly the same spool as 120. The extra length was accommodated on the spool by using backing paper at only the start and finish of the film, but this meant the film pressure plate in the camera needed adjustment as the film by itself was thinner than when there was both film and backing paper in the gate. Subsequently, compatible cameras had 120/220 settings on the film pressure plate that adjusted the tensioning springs. 220 obviously reduced the number of times film needed to be changed during a shoot and demand was mostly driven by pros. It’s no longer available in any of the ‘mainstream’ stocks, but CineStill has plans to launch an ISO 400 color negative film in 220 rolls by the end of 2022, and there may be others down the track.

What roll-film camera?

Now that we’ve demystified using 120 rollfilm and the availability is better than it’s been for a long time, what should you think about putting it in? A potted history of the development of medium format cameras designed primarily for professional use will help set the scene as it’s primarily these models – and their derivatives – that have the most potential for use today in terms of both reliability and operational ease.

In the days when there was a clear distinction between the studio camera and the field camera, the evolution of the latter was driven by improving portability and speed. So the large format Speed Graphic – beloved of press photographers from the 1920s to the 1950s – gave way to the twin lens reflex and 120 rollfilm. The TLR dominated through the 1950s and early 1960s as it was widely used by both amateurs and professionals. The Rolleiflexes in their many guises are the best known today, but for a while just about every camera maker of note offered a TLR. It allowed for reflex viewing, but by using a separate lens for this – matched with the taking lens – it was a simple and rugged design that was also quiet in its operation.

With the arrival of box-form SLRs, as pioneered by Hasselblad in 1948, the TLR soon fell out of favour among professionals, but their simplicity made them comparatively inexpensive to manufacture and extremely reliable. Consequently, they represent an affordable entry point to medium format film photography with only the rarer Rolleiflexes being really expensive, along with the largely hand-built last-of-the-line models.

Mamiya And Rolleiflex TLRs

The majority of TLRs have fixed lenses, but Mamiya developed an interchangeable lens arrangement and the last-of-the-line C330 Professional S remained in production until 1994. Aside from built-in metering in some models, TLRs are fully mechanical and, given the fixed reflex mirror for

Most medium format film cameras will make you work – some harder than others – but that’s part of the attraction.

The manufacture of Rolleiflex TLRs spanned over 80 years and didn’t cease completely until late 2014, although volume production ended in 1979. This run included the more amateur-orientated Rolleicords, which were built in large numbers and are consequently also a cheaper option today. Japanese camera-maker Yashica also persisted with the TLR for a long time and was still making the Mat-124G in the mid-1980s, which means these are still comparatively new classics.

The majority of TLRs have fixed lenses and mostly with the standard focal length (on the 6x6cm format) of 75mm or 80mm, but the notable exception is Mamiya which, in 1956, introduced the first model with interchangeable taking/viewing lens sets. There was eventually a choice of seven focal lengths from a 55mm wide-angle (equivalent to 30mm) to a 250mm telephoto (137mm), and the cameras – the C3 series and the lower-priced C2 series – remained in production until 1995. For obvious reasons, the Mamiya C series cameras – especially the last C220 and C330 models – are a good buy today, but prices are on the rise and some lenses are becoming harder to find.

Hasselblad 6x6cm

The ability to swap lenses was the main impetus behind the development of the box-form medium format SLR and Hasselblad took the opportunity to make its design fully modular, so film magazines and viewfinders could be swapped too. This configuration was subsequently emulated by Bronica and Mamiya, and simply copied by the Russians with the Kiev 88.

The original Hasselblad 1600F was plagued with shutter-related problems as nobody had tried to make such a large focal plane mechanism operate at a top speed of 1/1600 second before. Eventually Hasselblad gave up trying to make it work reliably and switched to in-lens leaf shutters, giving birth to the legendary 500 series. The original 500C was launched in 1957 (the ‘C’ stands for Compur which supplied the shutters, and ‘500’ represents the top speed of 1/500 second) and the same basic configuration – with fully mechanical operation – was retained for 56 years. There were many small advances along the way, making the later models more desirable for today’s user, although the 500C/M – which was introduced in 1970 – is quite easy to work with and, in fact, stayed in production until 1994 (including a brief period when it was called the 500 Classic). The subsequent models – 501C, 501CM, 503CX, 503CXi and 503CW – all retain the traditional Hasselblad 6x6cm SLR attributes and, as such, deliver a true classic medium format film camera experience.

In 1965, Hasselblad introduced a motorised version of the 500 called the 500 EL and, once again, the later versions are more desirable, even though the various updates or revisions were usually minor. Look for the 500 EL/M (1970-84) or later models such as the 500 ELX and 553 ELX. Also check that the EL/M model you have your eye on has been converted from the proprietary NiCd batteries to run on standard AA size cells.

In 1977, Hasselblad returned to using a focal plane shutter with its 2000 series of 6x6cm SLRs and, later, the 200 series, but these have never been as popular as the 500s. Check shutter accuracy and reliability if considering an early 2000 series model such as the 2000 FC or FC/M.

Perhaps the quirkiest of the classic Hasselblads are the Superwide (SW) models that eliminated the mirror box and focusing screen. They have a fixed Zeiss Biogon 38mm f4.5 ultra-wide lens with a non-coupled optical viewfinder. This makes them a lot more compact than the standard cameras and very easy to use handheld. All the SW models – later called SWC – accept the standard Hasselblad 120/220 rollfilm magazines. The optical performance of the 38mm Biogon lens (equivalent to a 21mm in 35mm format terms) is legendary, but the later versions benefit from improvements to multi-coating technologies to enhance contrast and colour. Consequently, the 903 SWC (1988-2001) and 905 SWC (2001-2006) are very highly sought after – especially by landscape photographers – and now sell for a lot more than their original price.

Mamiya 6x7cm & 6x4.5cm

With the 6x6cm format covered by its TLRs, Mamiya adopted the modular medium format SLR design for 6x7cm first in 1970 with the RB67 Professional and then, in 1975, 6x4.5cm for the more compact M645.

Like the 500 series ’Blads, the RB67 is fully modular, but with film holders that rotate on the camera back to conveniently switch between the landscape and portrait orientations. The RB-mount lenses incorporate Seiko leaf shutters and the range eventually included over 20 models, from a fish-eye to a telephoto. 

The RB67 Pro S model was launched in 1974 along with new K-series lenses and, in 1990, the Pro SD which could be fitted with a 6x8cm format film magazine. It’s the pick of the litter if only by virtue of being younger, but all RB67s were built tough and the overall reliability is generally good. As noted earlier, however, these are big and heavy cameras and, in practice, not all that comfortable to use handheld.

Likewise, the RZ67, which was introduced in 1982 and retained the RB’s revolving film backs and bellows-type focusing. However, the RZ lenses incorporated an electronically controlled Seiko leaf shutter, LED displays and provision for aperture-priority auto exposure control when fitted with the AE prism finder. Of course, this meant it was dependent on battery power that the more traditionalist pros considered a drawback. They were also sceptical about the polycarbonate (rather than metal) bodyshell, so the RZ67 didn't quite gain the same popularity as the camera it was meant to replace.

Consequently, the RB67 stayed in production alongside the RZ67. The latter was subsequently updated to the RZ67 II in 1995 and RZ67 IID in 2004 – the IID equipped to better integrate with digital capture backs. RB lenses can be used on the RZs – albeit with the loss of auto exposure control – but RZ lenses don’t fit the RB bodies. Ironically, you’ll probably pay less now for an RZ67 than an RB, although the former didn’t prove to have any reliability problems.

In contrast to the 6x7cm format Mamiya SLRs, the 6x4.5cm models are comparatively compact and the original M645 is a pretty thing too. To help make it smaller and also reduce cost, the M645 doesn’t have interchangeable film magazines, but the finders can be swapped and, of course, the lenses. There were three first-generation models – the standard camera being flanked by the M645 1000S with a faster 1/1000 second shutter and additional features (including a self-timer) and, in reverse, the stripped-down M645J designed as an entry-level model.

A completely new camera, called the M645 Super, was introduced in late 1985 with a polycarbonate bodyshell and interchangeable film magazines, plus a host of convenience features to bring its operation more into line with that of the 35mm SLRs from the period. This included the option of adding an autowinder housed in a handgrip. 

Subsequent models were the 645 Pro (1992, and the ‘M’ prefix was dropped), the 645 Pro TL (1997) and the 645E (2000, with a fixed prism-type viewfinder). At roughly the same time as the 645E, Mamiya launched the 645AF, again with an all-new bodyshell and, of course, autofocusing. The 645AF then spawned the 645AFD, 645AFD II, 645AFD III, 645DF and 645DF+ with the latter three also being marketed as Phase One models. However, the DF and DF+ can’t be fitted with film backs.

Bronica, Contax, Hasselblad & Pentax 6x4.5cm

The 6x4.5cm format enjoyed growing popularity during the 1980s and ’90s, primarily because it combined a more compact camera body (and lenses) with an image size that’s still 2.7x bigger than 35mm. As already noted, it also gives 15 (or maybe 16) frames per roll.

Bronica, Hasselblad and Pentax also offered 6x4.5cm SLRs alongside Mamiya, and Fujifilm built a number of 6x4.5cm rangefinder models with fixed lenses that offered an even more appealing balance of camera size and image size (more about them shortly).

Bronica’s ETR series of 6x4.5cm SLRs never quite achieved the popularity of Mamiya’s M645 cameras, but they were preferred for wedding photography and portraiture as they used leaf-type shutters (enabling flash sync at all speeds) and interchangeable film magazines right from the start. Bronica also competed in the 6x7cm format with the GS-1 launched in 1983, but again never challenged the dominance of the Mamiya RB67. Nevertheless, it’s a fine camera – if you can track one down – and backed by a reasonable system of leaf-shutter prime lenses.

Pentax’s original 645 model – launched in 1984 – was revolutionary at the time, bringing all the features of a contemporary 35mm SLR to a 6x4.5cm format model, including TTL centre-weighted metering, a full set of PASM exposure control modes, a built-in autowinder and an LCD info display. And it was backed by an extensive system of lenses. The 645 evolved into the 645N (1997) which introduced autofocusing and multi-zone metering – both firsts for medium format SLRs – and increased the autowinder’s speed from 1.5fps to 2.0fps. The 645N II followed in 2001, adding several new features including a mirror lock-up. Some lenses are still available new to support the digital Pentax 645Z.

Most discussions about classic Hasselblads concentrate on the 500 series models but, at the 2002 Photokina, the Swedish camera maker made an announcement that was almost as momentous as the historic 1948 press conference. With the launch of the H1, Hasselblad introduced an all-new system based on the 6x4.5cm format – it was co-developed with Fujifilm who made the H-mount lenses (and still do). There was no compatibility with the 6x6cm cameras – then renamed the V System – but the H System looked forward to the digital era. Nevertheless, the H1 was resolutely a film camera and still offers the Hasselblad medium format experience, albeit with a lot more mod cons, including autofocusing and motorised film advance.

Today, the H1 is definitely worth considering for anybody serious about shooting rollfilm and, given its more contemporary design, it’s much less of a culture shock than the mechanical models. Prices are reasonable in comparison too, but the lenses are expensive as this is still a current system, so second-hand examples tend to get quickly snapped up by working pros. Remember too, that body-only prices don’t tend to include a film magazine, so you’ll need to budget for this. 

The H2 was introduced in 2006 and is the same camera physically, but was designed to better integrate with a digital back. It accepts a film magazine and body prices are pretty similar to those of the H1, so you don’t necessarily have to hang out for the earlier model. Depending on your budget and commitment, you might also consider the later H2F and H4X models, but beyond the H3DII most of the H System bodies – the current series is H6 – are exclusively for digital capture.

Perhaps even more exclusive than the H1 is the Contax 645. Having built up a solid reputation with the 35mm RTS series SLRs, in the late 1990s parent company Kyocera decided it was time to move into the big league. The 645 boasted the same build quality as the RTS bodies and the autofocus lenses were made by Zeiss. Film backs and viewfinders are interchangeable and the film transport is motorized. The film pressure plate uses a vacuum suction system to ensure the film is completely flat in the gate, thereby making the most of the optical performance of the lenses. The focal plane shutter has a top speed of 1/4000 second. 

The Contax 645 was highly desirable when it was launched in 1998 and still is today. Consequently, prices remain very high – in fact, far exceeding those of the Hasselblad H1 or H2 – so you’ll probably need to really want the Contax marque to make this sort of investment. And bear in mind with Contax also long defunct, if something goes wrong, you’ll be looking at buying another body for your lenses. The good news is that there appear to be no serious issues, but this is still a purchase that needs to be very carefully considered in the light of the less risky alternatives.

Pentax 6x7

The modular box-form camera dominates the medium format film camera world, but there is one notable exception. Pentax’s 6x7 was launched in 1969 and bucked the design trend by being styled like an over-sized 35mm SLR. It wasn’t unique as the East German Pentacon Six – which was similar in configuration – had been launched earlier in 1966, but the Pentax was, of course, a Pentax and made in Japan, so it wasn’t facing much competition, at least as far as professionals were concerned. And, obviously, it was a 6x7cm format camera, not 6x6cm.

The body design greatly enhanced the handling and made the 6x7 easier and more comfortable to use handheld… as did a substantial wooden handgrip. Viewfinders can be swapped (including a metering prism), but the film transport is integrated with a conventional hinged camera back. 

Although, the 6x7 is a fully manual camera, it still requires a battery to actuate the focal plane shutter. It has a top speed of 1/1000 second, but the limitation for some professional photographers at the time – such as those in the wedding business – was the maximum flash sync speed of only 1/30 second. Subsequent models were the 67 (1989), which introduced a range of ergonomic improvements, and the 67 II (1998) with a built-in handgrip and LCD info panel. The AE prism finder introduced for the 67 II added six-zone matrix metering and the option of aperture-priority exposure control.

Particularly noteworthy is the very extensive system of lenses – in medium format system terms – which included leaf-shutter types, a fish-eye, a mirror-type supertelephoto and a shift lens. The original Asahi Pentax 6x7 is a rugged and reliable camera, and although the earliest models did have film transport issues, these would all have been repaired and upgraded at the time. Arguably then, a nice 6x7 is the best option if you like the idea of that big and airy 6x7cm frame. There are plenty available on the second-hand market and you get a lot of camera for your money. With a few more electronics, the 67 II in particular could present problems with repair if one of these components fails. Regardless of the variant, definitely look at one in the flesh before buying… they’re very much bigger in reality than any illustration suggests.

The other camera worth mentioning in this context is the Norita 66 which was launched in 1971. Again, it’s 6x6cm in format, but it was Japanese-made and backed by a reasonably large lens system. However, it wasn’t in production for very long (finishing in 1976) and so is a bit rarer than the Pentax, but still not overly hard to find.

The Pentacon Six was sold in Australia as the Hanimex Praktica 66 – grab one if you see one as they’re very rare – and in the West as the Exakta 66, which was built in West Germany. If you’re feeling really courageous, there’s also the Russian-made Kiev 60 – essentially a copy of the Pentacon Six – but, with the exception of the Norita, all these cameras are probably more curiosities or collectibles than something you’d contemplate using on a regular basis.

The other Rolleiflexes

There were medium-format Rolleiflex cameras that weren’t TLRs. The 6x6cm SLR models are much less well-known than the twins, but with them, Rollei set out to take on Hasselblad and even beat it for reliability and durability.

The SL66 was introduced in 1966 and shared the same basic configuration as the 500 series Hasselblads, but had bellows-based focusing with tilt movements for greater control over depth-of-field. However, these cameras were built in very small numbers compared to the Hasselblads and, consequently, are both much harder to find and much more expensive

In 1976, Rollei revolutionized medium format film camera design with the SLX which offered the conveniences of a built-in autowinder, TTL metering, shutter-priority auto exposure control and LED indicators in the viewfinder. It was way ahead of its time. The SLX evolved into the 6006 (1983), which added the flexibility of interchangeable film magazines – with ingenious built-in ‘roller blind’ dark slides – and features such as off-the-film (OTF) auto flash metering. The 6000 range ultimately culminated in the 6008AF (2002) which, as well as autofocusing, has multi-zone metering, PASM exposure control modes, auto bracketing, a full LCD viewfinder display and continuous shooting at up to 2fps.

The 6008AF was always been a rare beast even when it was current (likewise the Schneider-made AF lenses) and is even more so now. Be prepared to pay a lot if you really want one with a workable set of lenses. In fact, rarity means any Rolleiflex 6x6cm SLR carries a premium on pricing.

Fujifilm rangefinder cameras

The more affordable route into medium format photography was traditionally via a rangefinder (RF) camera, but this isn’t necessarily true today as the combination of portability and image size has pushed up values, especially of models with interchangeable lenses. The more recent reality that rollfilm isn’t about to disappear has also buoyed the market.

However, still likely to be comparatively affordable is Fujifilm’s line-up of fixed-lens medium format RF cameras, which were under-appreciated even when they were new. Incidentally, Fujifilm initially offered a choice of interchangeable lens models (badged Fujica) in the 6x7cm and 6x9cm formats. These early models are now very rare and highly collectible so, if affordability is your priority, it’s the fixed-lens model from 1978 onward that are worth considering.

These start with the GW690 and the GW670 fitted with a 90mm f/3.5 lens, which was equivalent in focal length to a 35mm on the 6x9cm GW690 and a 42mm on the 6x7cm GW670. Fujifilm introduced the GSW690 in 1980 which had a fixed 65mm f/5.6 lens, equivalent to a 25mm in the 35mm format. Series II versions of all three models arrived in 1985 and the main changes were the addition of a hotshoe (rather than just a ‘cold’ mount) and a built-in lens hood, plus the Fujica name was dropped in favour of simply “Fuji”. The Series III cameras were launched in 1992 and featured radically restyled bodyshells and a redesigned viewfinder that has a brighter, Leica-style rectangular double-image rangefinder rather than the previous spot.

Perhaps the most interesting models, though, are the 6x4.5cm cameras which are exceptionally compact, but deliver the image quality benefits of the bigger frame size. The Fujica GS645 Professional was essentially a modern interpretation of the old 6x6cm ‘folder’, complete with a 75mm f/3.4 lens (equivalent to 45mm) mounted on bellows so it could be retracted into the camera body, making for an even more compact package. There was also a GS645S model with a rigidly-mounted 60mm lens (equivalent to 35mm) and a GS645W with a 45mm lens (equivalent to 28mm). Both these cameras have a distinctive curved ‘bumper bar’ arrangement to protect the front rim of the lens. All the GS645 models have built-in metering which is something that was never available on the 6x7cm and 6x9cm cameras.

The later-generation GA series models, introduced in 1995, were essential medium format versions of a point-and-shoot 35mm compact with autofocus, programmed exposure control, motorised film advance and a built-in, pop-up flash. However, fully manual control is also available. As with the previous series, Fujifilm subsequently introduced a wider-angle version, called the GA645W and fitted with a 45mm f/4.0 lens (equivalent to 28mm). Both were subsequently upgraded in 1997 as the GA645i and GA645Wi, with the main change being the addition of a second shutter release button on the front panel. In 1998, Fujifilm introduced the last-of-the-line GA645Zi model, which has a 55-90mm f/4.5-6.9 zoom lens (equivalent to 35-55mm) and a restyled body with a more pronounced handgrip.

None of the Fujifilm medium format fixed-lens cameras were built in big numbers, but most are fairly easy to find second hand and are generally reasonably priced too. Our picks would be the GS645W for the purist approach or the GA645W if you’d prefer more automation. And the GA645Zi is just a hoot.

Fuji medium format SLRs

Fujifilm also dared to be different when it finally ventured into the medium format SLR market in 1989 with the GX680 Professional. It was a 6x8cm format model, and borrowed an aspect-of-view camera design so the lens mount ran on twin rails and was connected to the body via bellows. This allowed the lens standard to be tilted for depth-of-field control and shifted for perspective control, and the range of both was quite extensive.

As on the Mamiya RB/RZ, the film magazines rotated to switch between landscape and portrait framing, and there was a choice of waist-level and eye-level viewfinders, including an AE version of the latter for aperture-priority exposure control.

There was eventually a system of 18 lenses, so the GX680 was a hugely capable professional tool, although not surprisingly, it’s a bulky beast and rivals the Mamiyas for its physical presence. There were Mark II (1995) and Mark III (1998) versions, although the upgrades were mostly minor so any model is worth considering today if, ahem, you’re thinking outside the square. Bear in mind, it was primarily designed for studio use and so works most comfortably when mounted on a tripod. All the versions were only built in small numbers, but they’re not all that hard to source on the second-hand market and, at the moment at least, surprisingly well priced. The size, weight and perceived complexity of the bellows system probably put quite a few people off, but they’re worth considering you’re really up for a challenge.

As noted earlier, the 6x4.5cm Hasselblad H1 was co-developed with Fujifilm and the agreement allowed the latter to market the camera under its own branding in Japan. The Fujifilm GX645AF is identical to the H1 – although there are some cosmetic differences – so all the lenses and accessories are the same. A few of the Fujifilm models found their way onto the Australian market and are interesting by virtue of rarity, but if you see a good H1 for less money…

Incidentally, Fujifilm didn’t continue with the range when Hasselblad introduced the H2.

Bronica And Mamiya rangefinder cameras

Just as in the 35mm format, the interchangeable lens rangefinder camera enjoyed a curious final fling in the medium formats before digital put an end to it all. You can have them in all the popular film sizes – 6x4.5cm with the Bronica 645RF, 6x6cm with the Mamiya 6 and 6x7cm with the Mamiya 7. All were comparatively short-lived so the choice of lenses for each is small, but still provide greater versatility than the fixed lens models from Fujifilm.

A bit of a surprise when it arrived in 2000, the Bronica 645RF was pretty much the brand’s last roll of the dice, and it’s a thoroughly modern design with fully electronic controls, including program and aperture-priority exposure modes and automatic parallax correction in the viewfinder. It was launched with three leaf-shutter lenses – a 45mm f/4.0 (34mm equivalent), a 65mm f/4.0 (40mm) and a 135mm f/4.5 (100mm) which was quickly replaced by a 100mm (75mm), but both these short telephotos are extremely hard, if not impossible, to find.

With Bronica long gone, spare parts and repairs are now a major issue, which is why it might be wiser to consider the Mamiyas as they were made in greater numbers. Introduced in 1989, the Mamiya 6 – the last in a long line of cameras to have this model number – is a more traditional design than the Bronica and, of course, offers the flexibility of the square format. Also more useful is the lens line-up although, again, there’s only three models – a 50mm f/4.0 (28mm equivalent), 75mm f/3.5 (45mm) and 150mm f/4.5 (82mm) – all with electronic leaf shutters. A collapsible lens mount makes the 6 more compact to store, and it has modern ‘conveniences’ such as aperture-priority auto exposure control, auto frame selection in the viewfinder and single-stroke film advance. 

The Mamiya 7 (1995) is essentially the same camera in terms of design and features, but steps up to the 6x7cm format – which is 4.5x larger than 35mm – so it’s bigger and there’s a choice of six prime lenses from a 43mm f/4.5 ultra-wide (21mm equivalent) to a 210mm f/8.0 telephoto (105mm). An updated model – the 7 II – was introduced in 1999 and has an improved viewfinder, a few ergonomic revisions and a multiple exposure capability. In practical terms, the changes between the two models are minor so don’t be put off from buying the Mark I model. A key advantage of all the medium format RF cameras – versus some SLRs – is that loading the rollfilm is a simple right-to-left (or vice versa) procedure and so virtually no more involved than using 35mm… but, of course, you don’t need to rewind at the end.

Conclusion

Using any medium format film camera is guaranteed to be an experience, but depending on the vintage and configuration, some certainly demand more from you than others. Consequently, you need to decide whether you just want to have a bit of fun or whether you want something to use for more serious photography, leveraging the increased quality of the larger frame sizes versus 35mm.

There are a few good reasons for going down the mechanical camera route, not the least being the inherent reliability of a more basic design. While it may seem re-assuring to opt for a more automated camera, you’ll be surprised how quickly and easily you can become accustomed to doing everything manually… and it’s generally a whole lot more fulfilling. Given the vast majority of medium format film cameras were designed and built with professional usage in mind, reliability is generally less of a problem than might be the case with amateur cameras of a similar vintage, but the simple truth is that there’s less to go wrong with an all-mechanical design versus one that employs some electronics and, in particular, is fully dependent on battery power.

The choice here, then, is extensive and includes Hasselblad’s 500 series cameras, the mighty Mamiya RB67 and the first M645 models, all TLRs, Fujifilm’s earlier rangefinder designs and the Rollei SL66s (with the caveats mentioned earlier). Nevertheless, there are battery-dependent cameras worth considering such as the Pentax 6x7 and 645, and you could safely ‘go all the way’ with something like the Fujifilm’s autofocus GA series which are great fun to use. If you want to travel light – well, lighter – a medium format rangefinder camera of any flavour makes sense, but obviously the interchangeable lens modes offer more flexibility. Consequently, both the Mamiya 6 and 7 are continually in demand and the Bronica RF645 has maintained high values due to its rarity factor.

If you’re about to make your first foray into film photography then going straight to medium, format is a big step and requires some extra commitment as well as, most likely, some extra budget. With the move to mirrorless designs, even today’s digital medium format cameras are now a long way removed from their rollfilm ancestors, so you need to be prepared for a whole new experience that requires both patience and discipline. And it’s going to be same if your last experience of film was a 35mm system.

With the vast majority of medium format film cameras you will have to slow down and be a lot more methodical about how you shoot, especially if you’ve chosen a model that’s entirely mechanical or has minimal automation. But all these aspects are also the positives of using a medium format film camera and the additional involvement that they demand is the real appeal today. You really feel that you’re an integral part of the process of making a photograph rather than just taking a picture. It’s educational, enjoyable and, ultimately, a whole lot of fun.

You will undoubtedly be rewarded for effort.

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Wonder how much a gold-plated Hasselblad is worth? How about a snakeskin-covered Mamiya? We caught up with auctioneer Flints at The Photography Show, which showed us some of its most sought-after cameras ahead of its live Fine Photographica auction on November 17.

Founded in 2016, Flints Auctions is an independent firm of auctioneers and valuers with a growing range of specialist departments in fine art and antiques. It is the leading auction house for the sale of fine cameras and scientific instruments in the United Kingdom – which was certainly evidenced by the cameras we saw…

The gold standard

Perhaps the most eye-catching camera we saw was this gold-plated Hasselblad 2000 FC/M – already one of the best Hasselblad cameras ever made, now even more covetable dripping with gold. 

With only 100 built, the experts at Flints were confident that its value would exceed £2,000-£2,500 (approximately $2,150-$2,700 / AU$3,320-AU$4,150) at auction. We thought it was by far the sharpest-looking camera of the bunch. 

There's a snake in my boot

If you're after something with a little less bling and a little more lizard, then you could always get your bids in for the Mamiya RB67 Snake Skin edition. 

Legend has it that when the first batch (of just five cameras) was shipped to the UK, one fashion photographer bought the entire lot no questions asked – making them particularly hard to find. 

Flints valued this item at auction for a little less than the Hasselblads at around £1,500 ($1,600 / AU$2,500) but said it could easily reach north of £2,500 ($2,700 / AU$4,150) to the right buyer.

Leica magic

You probably guessed it, but the jewel in the crown of the collection had a famous red dot on it; sat regally in a glass cabinet with its own box and red cushion, we spotted the Leica M6 Ein Stück edition. 

With only 1,000 ever made, this particular camera was pristine – and has never even had a roll of film put through it. Like an old Ferrari that's never been started, the motors might need a quick trip to the auto shop before it's road worthy, but Flints estimates that it would fetch at least £6,000-£8,000 ($6,400-$8,600 / AU$9,900-AU$13,300).

Don't miss the auction

For more information and the chance to add one of these cameras to your collection, visit the Flints Auctions website. The Fine Photographica collection goes up for auction on November 17.

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Fresh from their previous success with a 35mm digital back, I’m Back have returned with a new model, this time for medium format cameras.

The new digital back, now funding on Kickstarter, will be compatible with cameras by Hasselblad, Bronica, Rolleiflex, Mamiya and others. It’s designed to be low-cost and widely compatible, with a retail price tag of around $400.

The idea is definitely about putting some romance into picture-taking, rather than focusing on pixel counts and that sort of thing. The first bit of text you encounter on the Kickstarter page reads as follows:

"Why don’t you take her for a simple but exciting walk, like you did in the past. Do you remember that vintage flavour and those special moments? The weddings, graduations, baptisms and the lovely sunset? She always was together with you! How many times you carried her taking enormous care? Love never ends, but frankly speaking you did not bring her to walk for a while!"  - I'm Back® Medium Format

So now that no one’s confused, let’s look at the technical details of what’s on offer. While the new digital back fixes onto the rear of medium format bodies, one thing to note is that it does not use a medium format sensor. Its sensor is a 1/2.33-inch CMOS sensor made by Panasonic, with 16MP of resolution. It’s the kind of thing you’d find in a GoPro or similar action camera.

So you aren’t going to be producing images comparable to medium format film, but the makers are clear that they aren’t trying to. The new digital back is a quick, low-cost way to get a medium format body producing pictures again and stop it from gathering dust, and it does look like it has the potential to be a lot of fun.

I’m Back have released a few sample pictures taken with the new back, and they do look rather stylish in a low-key, Lomo-esque kind of way. You can check a few of them out below:

Other specs for the new back include: RAW-format shooting, Full HD video including slow-motion, burst shooting at 10fps (max. 3 shots) and 128GB micro SD storage.

The full list of camera models with expected compatibility is as follows:

Hasselblad 500/1000f/1600f/2000/200/SWA/SWC

Bronica Etrs

Bronica S

Kiev 88

Mamiya 645

Mamiya C330

Mamiya RB 67

Pentax 6X7 (depending on funding level)

Pentax 645 (depending on funding level)

Rolleiflex Automat

If you’re interested, you can head over to the Kickstarter page now to pledge some cash and secure your digital back. The campaign is running until September 5th 2019, and looks like it’s going to more than meet its £40,788 goal (converted from 50,000 Swiss Francs). You’ll currently have to throw down at least 399 Swiss Francs (about £325) to secure a back for yourself.

Read more:

The best medium format camera

The best film cameras in 2019

Best film