I thought I gather all relevant information about the entire Mamiya RZ67 Pro lens selection. I even corrected some info, and added remarks.

The only lenses that do not need to be extra listed are the original lenses vs "W" versions. They are optically exactly the same, only that the "W" version shows half stop markings on the aperture ring, while the first versions show full aperture stops.

Mamiya created the "W" version lenses, when they introduced (1992) the Mamiya RZ67 Pro II camera, which allowed you to set half stops, as well half shutter speeds.

Albeit even on the original RZ67 Professional (1982) it was possible to set half aperture stops on the lens anyway, albeit the camera body only allowed you to set full shutter speeds. (But that was never a real problem or limitation, in my opinion). In 2003 Mamiya also released the version that allowed you to adapt digital backs with the RZ67 Pro IID.

Then further along the road, Mamiya started to renew certain lenses, added new types, as well used more exotic glass and other refinements - especially on the telephoto side, with APO lenses - which by the way are quite a bit heavier than their non-APO equivalents. That's because of exotic glass is usually heavier, plus they usually added an extra element to the optical formula. On the APO 250 they even added two extra lens elements.

All those variants you can discern in the above chart.

 

Filter Sizes

Almost all lenses use 77mm Ø filters, except for the 500mm lenses & 75mm Shift lenses, as both use the larger 105mm Ø sized filters. Well, who would do that anyway...? I absolutely loved that the Mamiya RZ67 Pro system had a unificated 77mm Ø filter size.

It made life so much easier !!

 

Prototype 2002: Mamiya Sekor M 43mm ƒ4.5 L

I had absolutely no idea !!!

I just stumbled across that Mamiya actually had four prototypes for a wider lens than 50mm (equivalent to a 25 mm wide angle). Apparently the first prototypes never left the factory because they were not within the expected specifications. But the second two did, and where shown at the Photokina in Cologne 2002, and the other in New York. For the release in 2006. They are now in a Mamiya Museum.

However in the mean time, Mamiya sold their development department - and from there it went down the hill - overtaken by other companies, and ultimately being incorporated - and ended - by Danish Phase One.

Just wow.

This development of a 43mm lens (in fullframe equivalent to 21 mm wideangle) was partially done because the 50 mm was still too narrow, especially with the 36x36mm CCD sensor back (=25 mm) for the Mamiya RZ67 IID. Simply said, the market required a wider lens. But also because in the Mamiya 7 (rangefinder) camera system, already had a 43mm very wide angle (a stunningly sharp lens, by the way)

Such a pity, that the Sekor M 43/4.5 L was never released.

 

"With the advent of the digital era, Mamiya has launched the corresponding model RZ67 Pro II D that can use the digital back, but the lens focal length has also been reduced to a certain extent due to the size of the sensor. In this way, the demand for ultra-wide-angle lenses began to appear. Mamiya began to study the possibility of designing a 43mm lens equivalent to 21mm for the RZ67 system, so that it can still provide a viewing angle of about 25mm even with a digital back.

Mamiya finally announced the development of a 43mm 4.5 ULD lens in 2002, aiming to officially launch it in 2006. Due to the difficulty of the design, Mamiya invested millions of dollars in research and development. However, people did not wait for the day of sale. Soon after, Mamiya sold its imaging division and no longer invested in new product research and development.

Fortunately, Mamiya has trial-made a total of 4 prototype lenses in the research and development stage, with the numbers C00001-C00004 respectively. The first two were not ideal and did not meet the expected requirements, so they did not leave the factory. The last two were successful and exhibited as samples at Photokina in Cologne and the equipment exhibition in New York. Since then, it has been stored in the exhibition hall of Mamiya Company.
"

 

 

Mamiya RZ67 Lenses, adapted on Fujifilm GFX cameras

I also added a section, in which you can see, what a Mamiya RZ67 lenses effective focal length turns into - when you adapt them straight onto a Fujifilm GFX camera with its 33x44mm sensor (being clearly smaller than the original 7x7 format that the lenses (practically) cover. And their illumination circle is even larger, a whopping 92x92 mm).

The chart gives you info, a feeling of what to expect, if you ever would adapt a lens to the GFX camera. Well, most of them turn into longer lenses - where no lens really provides any wide angle. (well for that, there are excellent native Fujinon GF lenses, right ?).

Not that this combo will be common among photographers except a few who tested it - but at least the info is there.

People who are interested into adapting medium format lenses, do of course better by using other brands instead; due to that they all have built-in helicoid focus (With the Mamiya RZ and RB lenses don't have).

Lenses from system like Pentax 6x7, Bronica ETRS (645), Bronica SQ (6x6), Bronica GS1 (6x7), Pentax 645, Mamiya 645, Contax 645, Hasselblad (6x6), etc. They all cover of course the smaller Fujifilm GFX sensor very well and don't create any dark corners, compared to most 35mm / fullframe lenses that do create various amount of dark corners. Most fullframe lenses do, while a very few don't / or very little.

 

One of finest camera systems ever made

The Mamiya RZ67 Pro mediumformat system is in my opinion one of the most fascinating system ever made - ground up solid in so many ways - plus that Mamiya was specialized in how they mix and molded their own glass in various, even exotic ways. Of all my medium format camera, the RZ67 always delivered the sharpest, most solid and repeatable results.

No wonder it became popular among Fashion and Product photographers around the world. The proof is in the pudding.

Despite my worry back in 1987, when I bought into the system - thinking that being an electronically steered camera, it would perhaps become a weakness in the future / by being unreliable.

It never was.

I still have the oldest RZ67 in my home in 2025, and it works like a charm.

 

Heavy & Bulky - but ground up wonderful to work with

Yes sure, it is heavy, bulky and everything. But the delight to shift the film back, by simply rotating it between vertical and horizontal position - is a sheer delight. Because you never have to change the camera position on the tripod. And with that heavy weight... you wouldn't even want to shift the center gravity sidewards by 90 degrees. That would be cumbersome, bulky, with the risk of falling at the side.

It was simply a straight, through thought, solid camera system. Once you get the spirit of it - it just works for you, without being in your way.

 

Let's face it: it is a TRIPOD camera

If you really dig good quality in terms of sharpness and definition - always use the Mamiya RZ67 camera on a tripod, with mirror-pre release. Now that is what the negatives really shine. I noticed, that when I tried to pull that off without tripod, even at the shortest shutter speed 1/400s - they where not as sharp. Something got lost.

So, I consider it a tripod-only camera - because it pays off 100% in quality.


Page 37 • Year 2025