Shooting Coastal Maine with a Mamiya 645 and Kodak Film

Shooting Coastal Maine with a Mamiya 645 and Kodak Film

2560 1707 Drew Chambers

As usual, I was in search of a quick buy. We’d be spending the weekend exploring Midcoast Maine, and earlier in the week I’d come down with some sort of fever to which the only cure seemed the purchase of a medium format camera. Lo and behold, I located a Mamiya 645 1000S in Bristol, Rhode Island for a steal. I made my way to the seller on Saturday and, to my delight, found a near-mint camera with the 2.8/80 and 3.5/150 lenses, complete with a power drive and grip all packaged up in a Pelican case. 

After buying the camera, I immediately snatched up the common—and cheap—six-volt battery it takes, and basked in the green glow of the battery check light. Up until that moment, I had only shot with 35mm cameras. This Mamiya represented my doorway onto a higher plane of photographic existence, and I was eager.

Sunday morning, we loaded up the car and headed to a fishing village called Round Pond. Round Pond is a shallow harbor off of Muscongus Bay with mounds of lobster traps and a hilly terrain. 

Muscongus Bay was named by the Abenaki people for its “rock ledges” and is relatively uncommercialized. The bay is dotted with some small islands and can be traversed here and there in a kayak. The coast is rocky and on the southern tip there exists Pemaquid Lighthouse, built in 1827 and one of only a handful of lighthouses in Maine to use a Fresnel lens, an assembly of hundreds of prisms which collimate light into a powerful beam, making it visible far off the coastline. 

The roads to Round Pond are winding, and as you drive you pass countless boats and farms. Mansard roofs dot the village and a lone, gleaming white chapel’s steeple stands as the tallest point, dwarfing the pine next to it. 

We arrive and settle into our in-law suite attached to the back of what I hear is a Round Pond landmark—the house that used to have a garish and outdated glass facade. Now, the house and its accompanying suite are quaint. We feel right at home. 

We enjoy a walk down to the harbor and spend time on the docks where an old harbor gas pump with analog digits still shines an ethereal green light. After dinner, I use the Mamiya to make one photo of Kelly, my wife. Early summer evening light spills in through trees. The resulting photo is what I imagined, but Kelly’s eyes are ever so slightly out of focus and I’ll come to learn that focusing the Mamiya is difficult for me. At the time, of course, I have no idea and wind the roll for the next shot to be taken the next day. 

[Shots in the galleries below were made with Kodak Ektar and Kodak Portra film]

As of this point in our trip, I’ve mostly enjoyed the camera by means of gazing at it. The 645 1000S is a dazzlingly cool machine. The camera has a metal chassis which borders a beautiful pebble grain body covering. There’s sleek chrome trim on the sides of the camera and smooth, polished sections separate the various pebbled sections. The pebble grain covering is, in my opinion, just about the most beautiful body finishing I’ve seen on a camera. 

The M645 series (distinct from the later 645 Pro and 645 AF series) has multiple viewfinder options for both waist-level and prism constructions. My camera has the PD S prism, which offers a built-in meter, ISO knob, and shutter knob (up to 1/1000th of a second), as well as small white “on” button. On the top of the finder (which features the same combination of chrome detailing, pebble grain, and smooth edges), we find the prominent Mamiya logo designed in 1940 by students of the Japan Fine Arts School. The logo, as I understand it, features two crossing lens elements with the letters “S” and “M,” standing for Mamiya’s founders, Sugawara and Mamiya. This logo is, of course, outlined in chrome. 

I really love everything about the camera’s design; it features so many tiny details, which are notoriously things I appreciate in the design of any object. You’ve got, by my count, six different styles of knurling across the body, finder, and lens from the blocky, turret-style knurling of the shutter speed knobs to the closer, thinner “reeded” edge of the aperture ring, which itself is discrete from the classic, pyramidal grip of the focusing ring. 

The shutter speed knob on my finder uses white paint for speeds above 1/60, a bold red and additional “X” for 1/60, orange paint for speeds slower than 1/60, and then green paint for speeds over 1 second. (The speed I can’t figure out is 1/30, which is neither orange nor red, but rather white like the speeds faster than 1/60th.) I even like the little red “X” on the hot shoe indicating electronic flash compatibility. 

All of this is to say that I think the camera looks pretty, and even before shooting it I’m already an admirer. 

The next morning, we plan to head to a preserve along the bay called La Verna. La Verna Preserve is a mostly forested 120-acre site that feels carved out from the neighboring state routes and fried seafood restaurants. We arrive at the La Verna parking lot, across Maine 32 from the entrance of the preserve. Our dog, Paxton, is raring to go, as always. I sling my backpack over my back and let my Contax 167MT with its Zeiss 50 hang around my neck. 

La Verna enters into an expansive forested area giving way to wild fiddleheads and fledgling pines. The path leads over some old stone walls and eventually along boardwalks that are built over marshy areas. Eventually you can hear the sound of the surf and smell the salt. The path teases, winding parallel to the ocean for a while before opening up to the rock ledges that make up the coast. 

The rocks that make up the bluff are massive, and in some spots, they’re folded from when they were deep in the earth, heated to the point of being pliable before eventually ending up here, brittle and under my shoes. Here you also have schist rusting with age, and overturned bedrock revealing striations of sediment. 

I set my backpack down to get out the Mamiya. While the camera is not enormously large, it’s also not wonderfully ergonomic or light. My standard setup (the prism and the 2.8/80) weighs about four pounds. I typically use the camera with the Mamiya left-hand grip, unless I am using a tripod. Luckily, Mamiya included mounts for a proprietary neck strap, which (also luckily) I have. With the strap and grip, the camera is wieldable handheld, but for my tastes, it’s still a bit clunky. 

The main shooting difficulty is the metered prism finder. The finder clicks into place and links up with the aperture-indicating fork on the lens. Unfortunately, there is some slight give in the connection, which allows the finder to move up a few millimeters. While not a major issue, the give sometimes means the electronic connection between the finder and the body is lost, meaning the meter is also lost. 

To activate the finder’s meter, you have to push a small white plastic button on the finder. This will activate the meter for fifteen seconds before automatically shutting off. In truth, the button is not the most obvious in terms of placement or build. It’s small, light, and placed just in front of the large shutter speed knob. These are probably quibbles, but they definitely impact the ease of shooting handheld. 

And other than these few quibbles, the camera is nicely built and easy to use. The shutter speed knob on the camera or the finder—if you’re using a finder with a shutter speed selector, the finder’s selector takes priority—is large with nice, resonant clicks for each speed. The film wind is super smooth and very easy to turn. The aperture rings are straightforward, as is the focus. 

I particularly like the main shutter button. Though there are two (a rectangular one with ridges on the top of the body and a traditional circular, threaded button on the front), I prefer the front button most of the time. It’s on the front, bottom, right corner of the camera and makes the act of focusing and shooting seamless. The top release is intended for shooting vertical frames. 

At La Verna, the shooting goes well, so I think, but when I get my film back, I realize that some of my frames overlapped and some frames were affected by light leaks. Older cameras, like these, do suffer from deteriorating light seals and in my haste to leave 35mm behind, I forgot to check and replace them. Thankfully, the majority of my shots with the camera are leakless and not overlapping.  

I take some shots of the geology, Kelly, and the coming clouds, and just like that, I’ve finished my first roll. We make the trek back to the car, head to some tiny seafood place on New Harbor, and then quickly make our way to Pemaquid Point. If La Verna is beautiful because of its isolation, Pemaquid is beautiful because of its settlement. 

The Point is flatter and less segmented compared to La Verna. There are fewer loose boulders and the bluff slopes for hundreds of yards down into the Atlantic. It’s easy to stand close to the lighthouse and see how dwarfed people are near the waves. The tower itself is stout and not too tall. Its stones are painted white and its lookout is black iron. Next to the lighthouse tower there is a tiny red house called the oil house harkening back to a time before electricity when the light was still lit by oil or (later) kerosene. 

At Pemaquid Point I easily burn through another roll. Shooting with the Mamiya is a methodical process for me, especially compared to the auto-wind Contax cameras I’m shooting otherwise. I hoist the finder up to my eye, check the exposure, make my adjustments, wind the roll and cock the shutter (done with one 360-degree rotation of the lever), focus the hefty lens, and finally take the shot. Later, when I’m finally able to see my photos and compare them with the 35mm shots I took with my Contax cameras and accompanying Zeiss lenses, I can make a better judgment about the Mamiya’s value to me. 

My initial thoughts are, damn, I missed focus on some easy shots, and, secondly, these images look a bit flat. When it comes to the focus, that’s obviously on me. At some points, I focused to infinity thinking my subject was far enough away only to realize I misjudged the distance and was shooting with too wide an aperture to save me. 

But as far as the optics go, that’s a bit more complicated. I don’t think it’s that the Mamiya lenses are poor performers, but more that I’m used to a different visual profile. I really favor Zeiss lenses because, to my perception, they produce contrastier, more saturated images—two characteristics I prefer in my own photography. 

The Mamiya lenses I’ve used with the M645 seemed to have rendered tones more smoothly, which to my eyes looks flatter than I like. Colors are softer (compared to a Zeiss lens with the same film stock). I sense a bit of vignetting around the corners, but nothing egregious (and probably a positive as far as character goes). Mamiya claims these M645 lenses are “razor-sharp.” I’m not entirely positive this is the case when compared to newer lenses, though that’s probably to be expected. 

I ended up shooting with the camera later in the summer at Montauk and then this winter in Massachusetts and I admittedly prefer the results of those outings better than my initial ones. For the later photos, I used Ektar rather than Portra, which likely contributed to my preference for them. With a bit of post-processing, I truly appreciate many of the images I’ve taken with the Mamiya 645. Overall, though, the lens qualities do not inspire me to reach for this camera over many of my other options. 

Even so, the camera is undeniably feature packed with its double-exposure switch, mirror lock-up, DOF preview lever, shutter lock, timer, and flash-sync ports. As far as ease of use with a bounty of options, this is about as good as they come in medium format outside of far pricier options. 

Though the camera doesn’t feature an interchangeable back (which, in my book, is a plus to save on size), the film compartment is super easy to open, the magazine is super easy to load, and the magazine effortlessly pops in and out of place. 

The common 2.8/80 is essentially equivalent to a 1.7/50 on a 35mm negative (meaning the depth of field and the angle of view you’ll get with this lens on the Mamiya will be equivalent to using a 50mm f/1.7 lens on a typical 35mm camera). That’s a solid starter—fast and classic. With shutter speeds that go from 1/1000th of a second to a whopping 8 seconds and then bulb, you’ve got room for easy long exposures and night photography. 

All in all and for the price, the Mamiya M645s represent one of the best first forays into medium format photography, especially for the photographer put-off by TLRs or zone-focusing cameras of yesteryear. In the Mamiya 645 1000S, you find a highly capable machine packaged into one of the best-looking exteriors anywhere.

But if you don’t end up buying a Mamiya 645 after reading this, at least go explore the crags or plains or fjords near you with the camera you already own.

Get your own Mamiya 645 on eBay

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Drew Chambers

Drew Chambers is a former high school teacher and current master's student at Harvard University. He lives in Waltham, Massachusetts with his wife and their perfect dog. Outside of teaching, reading, and writing, Drew spends most of his time listening to indie rock. He is happy when photographing.

All stories by:Drew Chambers
  • lockwoodphotography January 20, 2020 at 11:36 am

    Well done Drew. A couple of tips from a guy that shot medium format commercially thru the 1990’s: Yes, MF requires a more deliberate approach than 35mm. Your perceived lack of sharpness may have multiple sources. Shooting MF demands good technique. For starters, a solid tripod should be used. Secondarily, using mirror-lockup helps. That big flippin’ mirror causes camera movement. And thirdly, keep in mind that although the 80mm has a comparable FOV to a “normal” focal length 50mm on 35mm, it’s still an 80mm. Meaning, you should probably not handhold it at less than 1/125 second.

  • It’s funny to read your write-up about the M645 1000s because I, relatively recently, also got one of these with the exact same metered viewfinder and lenses (80mm f/2.8 and 150mm f/3.5). I got mine in July 2019 and quickly replaced all light seals and mirror box foam shortly after getting the camera. The biggest issue I have had with this camera so-far was the need to trim down the mirror-box foam after I had installed it to stop interference with the mirror travel. After I took care of that, the camera worked a treat! One thing that has made focusing with the M645 a bit more tricky for me is the split prism focusing screen that has the split prism line at a 45 degree angle to horizontal. I guess I’d just prefer it to be horizontal like in my film SLRs. All that aside, however I love using the M645. It’s great, especially with the 150mm f/3.5 lens, for portraits. I’ve even taken it to shoot my daughter’s nordic ski race a couple weeks ago. I was shooting Portra 400 pushed to 800 and HP5 pushed to 1600. I’ve never been disappointed with the sharpness of the lenses and the color rendition. Eventually, I would like to find a 45mm f/2.8 wide lens but I can be patient.

  • Stefan Staudenmaier January 20, 2020 at 4:35 pm

    First thanks for the wonderful review and the nice pictures but I really have bring up
    the Pentax 645 when we start talking about getting into Mid Format on a bargain.
    Seriously the Pentax offers much more for the money when you prefer a compact design
    over interchangable viewfinders or Film backs.
    Especially for travel it is a really handy camera System.

    If you want a universal allrounder go for the „Godfather“ and Level up to the Mamiya RB 67.

    6×7 is such a amazing format that anything else seems a bit „unimpressive“ against it.

    Well maybe a Mamiya Super 23 with its 6×9 can top this and its a pleasure how silent
    it works when there is no mirror to flip up.

    Anyway, I highly recommend to use at least a monopod in any case.
    It would be a shame to throw away all the possible quality……

  • You got some really nice photos on that trip! I love the look I get shooting on my 645 (mine’s the ProTL) but I find focusing a challenge too – in my case I can’t decide if it’s more accurate with or without my glasses! Also I’m completely with lockwoodphotography…that mirror is like a slamming door! 😂😂😂

  • I am finding it takes time and practice to really get to know a camera, or camera system. My first medium format camera was a Zeiss Ikon Ikoflex from the 1950s, which I still use. More recently I have come into the ownership of a Mamiya RZ67 and several lenses, which I am still getting to know, and consequently still making beginner mistakes with. But when I get it right, and use the right film for the task, the results are superb. Certainly worth persevering with. I also have a Rolleiflex 6002, which I have shot just one roll with. The first results were disappointing, but I think it is more likely me than the camera. I will go back to that later when I have mastered the Mamiya. Like you though, my daily shooter in 35mm is Contax, I have the 167MT and three 139Qs which I love, trouble is they set a very high bar for comparison when trying something new….

    • Stefan Staudenmaier January 20, 2020 at 8:17 pm

      Dear Steve I once tested the Rollei 6008 when it was brand new released,
      just to return it to the dealer with the comment „this is not for me“.

      At the moment my most used camera is the Pentax 67 and my second favorite
      the Mamiya Super 23 with the amazing Sonnar type 2,8/100

      No automatic or even TTL metering……just solid pieces of metal and glass.

      • Ah yes, I have the 2.8/100 with the 67, lovely piece of glass! I really like the old Ikoflex too. The Rollei is lovely to use, but I put Provia 100 in for my test roll, next time I will shoot something I am more familiar with like Ektar or Portra so that I can give it a fair test! And I will use a handheld meter….

  • You’re spot on with your comments about Mamiya rendering, I’ve noticed it with both the 645 glass and the E series 35mm lenses.
    It really smoothes out Ektar in particular, and I love the look.

  • Man, I think you’re way, way off on the lenses. I’ve got the M645 body with coupled prism finder, with the 55mm f2.8 as my primary lens. I also have the 80mm f2.8 and the 150mm f4 (at about $75 per lens, you can really load up!) That 55mm is sharp as a tack. Admittedly, focus is easy when infinity is about 20 feet out, but I really don’t understand why most of your shots are so fuzzed out. I’ve never used a tripod and shoot the 55mm down to 1/30 handheld (I lock the mirror up when I shoot 1/60 or slower). Frame after frame is razor sharp. I love the results I’ve gotten with Portra, and with a couple of the Lomography B&W stocks. Maybe it’s your scans, but all of these frames are fuzzier than any single one I’ve taken with mine. Love the camera, love the look and feel of the camera, but mostly I love the look of the film. And at the prices I’ve seen, I can’t imagine better glass at anything like this money.

  • I have to agree completely with “Lockwoodphotography” about using a tripod with this camera. I’ve tried to shoot handheld at moderate shutter speeds with lenses ranging from 110mm to 150 with horrible results. I think maybe a 45-55mm would work handheld at 500-1000/th. Anything with a tripod looks perfectly sharp. This is not a point-and-shoot nor was it designed as such, but instead, a portrait studio camera. I use my F2 for anything other than landscape or portraiture. But, even though they are soft, I really enjoy your photos. Thanks.

    • Stephen Sanders July 6, 2020 at 8:04 am

      I’d have to disagree with that. <80mm lenses are perfectly find at 1/125s hand held.

      I'd also disagree that it was designed for studio work, it's a light weight (comparatively) alternative to the bulkier 6×7 Mamiya systems where wedding photographers amongst others used 645s with motor drives hand held.

  • I genuinely don’t know what people are talking about. I’ve shot dozens of rolls with my m645 (the original, not the S, so I can only shoot up to 1/500) using 45mm, 55mm, 80mm and 150mm lenses. I’ve shot the 150mm handheld down to 1/125 with good results. For the two wide-angle lenses, I regularly shoot at 1/30, and they’re tack-sharp. When the shutter speed gets down near or below the 35mm equivalent (say, 1/30 for the 80mm—about a 50mm 35mm equivalent) I lock the mirror up before shooting, with sharp results. I’ve put this camera on a tripod fewer than 10 times. It’s a very good handheld medium-format setup.

  • Phil Calvit $75.00 is way too low for certain lenses try $200.00 for an 80mm f2.8 and $150.00 for a 55mm f2.8. The only lenses you will get for $75.00 is maybe the 150mm f4 or the 210mm the rest are way more costly but still affordable compared to auto focus lenses.

  • Nice review! I recently pulled my M645 out of storage, and of course it could use some service. Mirror, film advance, and the shutter all seem to problematic. Anybody have a suggestion for who services these?

    • Mike, I’ve used Camera Service Pro from Atlanta, GA, for my Pentax ME Super that broke. They did a great job at a reasonable price. I’ve heard they’re the best multiple times from people online. I would use them again. I initially tried to have my camera repaired by two of the popular and old shops in Manhattan, but they both told me they didn’t have the ability or parts to do the repair. The second shop I called referred me to Camera Service Pro. From what I understand, the biggest barrier to repairing cameras that old is the lack of unique parts. A lot of the necessary parts haven’t been made for decades. They can only get “new” parts from cameras that are broken beyond repair and sold as-is.

      Since the M645 is mostly mechanical, and your problems sounds mechanical, I’d assume they can fix yours. Probably just needs a gear or lubrication. I heard a harder problem to solve is broken circuit boards and electronics. They’re generally more unique than a gear or lever, and very hard to find working replacements for. That’s one good reason for having an older, near fully-mechanical camera. The electronics are much easier to repair than something from the ’90s, for example. They may last much longer with good repairs.

      If Camera Service Pro can’t do it, look for other, smaller repair shops. I know of several single-person operations out there who may have the parts and expertise. I’m probably going to send my M645 for routine maintenance soon. I bought mine recently and it probably hasn’t been used in decades.

  • Not sure how I stumbled onto your review, Drew; Probably as a deal on a 1000S just passed under my nose. I got a bit nostalgic. Before I went pro, in the mid-80’s, I worked in a camera store. This was when the 1000S was current. The store manager was in love with the design; He always demonstrated it for vertical-format shooting, by cradling it with his left hand (much like a 35mm) with the knob of the film crank between two fingers on his right, while actuating via the top release…..making for a pretty fast shoot-wind sequence. This was his argument against the oncoming medium format cameras with power winders. I had the opportunity to shoot with everything that was available back then. Ultimately, I acquired the first of several Hasselblads that I’ve used. All this is to say that, essentially, “Once you go Zeiss, you can’t go back”. Your Contax inadvertently set you up for disappointment! ..(LOL). I’ve used Blads and Rolleiflex considerably over the last 35+ years and always find something lacking in optics other than Zeiss and Schneider. I even have, and love, a Zeiss Distagon that I use on my Canons; It truly stands out. I can’t explain it. I want to. But, I can’t. It’s just a thing. All of the Mamiya optics that I ever used just lacked “sparkle” of any kind. This included 645, RB67, RZ67 & the good old C330. Still love the design of the Mamiya 645 1000s though, especially for the time that it was on the market. It was a solid competitor.

  • Maria Beckley .I have inherited three of these cameras and a bag of lenses and film . How do I find out what they are worth ?

  • I just stumbled onto your Mamiya 645 review and enjoyed reading it. I’ve used the 645 1000s since 1979 with no issues of any kind. It seems you have a locking problem with your viewfinder, as there should be no play in it. I have all the viewfinders for the camera, and they all lock on rock solid. My favorite is the PDs finder for its low light metering. The AE finder is nice for its aperture priority metering, but the metering range is too limited (it uses a cds cell). The waist level finder is a pleasure to use, because of its light weight and ease of use. The magnifier makes getting really sharp images so easy. All you need is a handheld light meter, and off you go. I also like the 45-degree split image focusing screen, because it makes it easy to focus on horizontal or vertical images. I have primarily used the 45/2.8, 55/2.8, and 80/1.9 lenses over the years and have never had anything but tack-sharp pictures. The lenses are amazing, rivaling anything out there! I have shot mainly landscapes, shooting on a tripod, so all my pictures are sharp at all shutter speeds. By the way, your comment about the color coding on the shutter speed dial was humorous when you referred to the 1/30 speed being, oddly, in white. You should, instead, look at it as all shutter speeds from 1/30 to 1/1000 are in white, except 1/60; because 1/60 is red to indicate the flash sync speed. The orange speeds are to remind you to use some kind of camera support. I had considered buying a 645 Pro when it came out, but decided to stick with the 1000s; because the 1000s does not need a special adapter to attach a cable release. Nor have I ever felt the need to change film mid-roll, thus not needing interchangeable film backs. I just load a couple of inserts with film, and I’m ready to go. I also like having two shutter releases on the camera … well=placed and easy to use. In my opinion, the 645 is the perfect modular medium format film camera, because it is small enough to use in the field, and the ergonomics are great. The RB/RZ 67 is great, but too cumbersome, for me, for field work; and I get more pictures on a roll of film with the 645. I hope you enjoy your 645 and get many years of use from it. I’ve used mine for over 40 years, and have never thought about going back to 35mm.

  • I just came across your review of the Mamiya system. These medium format cameras produced pictures that were stunning at its time. I took pictures with the C220 in the late 1960s, Zenza Bronica 645 in the 1970s and the Mamiya 7 in the early 2000. Fantastic glass!! Times have changed however. Today I shoot with Sony A7R4 (61 MP) and some legacy lenses, like Mamiya 645 lenses. The adapter I use is the Kipon Baveyes M645-S/E (costs about $750). It uses glass to reduce the image size by a factor of 0.7 and thus gives you the full quality rendering of the glass. The Kipon adapter holds its ground even with the highest resolution Mamiya lenses, like 24mm fisheye and 150mm f2.8. On a pixel level these lenses produce tack sharp images and stunning micro contrast in this combination. I use mentioned lenses mainly for landscape and to a lesser amount for portrait photography.

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Drew Chambers

Drew Chambers is a former high school teacher and current master's student at Harvard University. He lives in Waltham, Massachusetts with his wife and their perfect dog. Outside of teaching, reading, and writing, Drew spends most of his time listening to indie rock. He is happy when photographing.

All stories by:Drew Chambers