C41
Kodak Portra 400
Kodak Portra 400 is a professional C-41 color negative film known for flexible exposure latitude, natural skin tones, and fine grain.
View profile →rangefinder-medium-format
The Mamiya Standard Press is the founding camera of Mamiya's interchangeable-back, interchangeable-lens medium-format press camera family. Introduced in 1962, it established the core architecture that would persist through the Press 23, Super 23, and Universal models: a rangefinder-coupled body accepting Mamiya Press-mount lenses and interchangeable roll-film backs. The Standard was the entry-level version, omitting some features of the simultaneously or subsequently introduced Press 23 models. It shot 6x9 cm on 120 film as the primary format. Mamiya targeted it at press photographers and studios wanting medium-format flexibility without the bulk and slow operation of ground-glass view cameras.
Reference
Recommended film stocks for the — format your camera takes.
C41
Kodak Portra 400 is a professional C-41 color negative film known for flexible exposure latitude, natural skin tones, and fine grain.
View profile →C41
Kodak Portra 160 is a professional C-41 color negative film with fine grain, soft contrast, and natural color.
View profile →C41
Kodak Ektar 100 is a fine-grain C-41 color negative film with saturated color and high sharpness.
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About this camera
The original Mamiya Press - the simpler 1962 foundation for one of medium format's most versatile systems.
| Field | Value |
|---|
| Format | 120 (6x9 primary; backs available for 6x7, 6x6) |
| Mount | Mamiya Press |
| Year introduced | 1962 |
| Status | Discontinued |
| Shutter | Seiko leaf in lens |
| Shutter range | ~1s - 1/500s |
| Flash sync | All speeds (leaf) |
| Focus | Rangefinder coupled |
| Battery | None |
| Movements | None |
Mamiya entered the medium-format press camera market in 1960 with the original Mamiya Press, then refined and simplified the line. The Standard Press arrived in 1962 as a more accessible body.
The Mamiya Press line was designed to compete with the dominant Graflex press camera ecosystem in the American market and with German Linhof Technika variants in European markets, but at a substantially lower price point and with a more modern interchangeable-back concept. Where a Graflex Speed Graphic required changing the entire film holder after each shot, the Mamiya Press backs held a full roll of 120 and could be swapped between bodies or formats mid-roll.
The Standard was eventually eclipsed within Mamiya's own lineup by the Press 23 and the more capable Super 23, which added a wider selection of lenses and accessories. The Universal (1969) replaced the entire earlier line with a more sophisticated mechanism and broader format coverage.
The Standard Press is historically significant as the first implementation of an idea Mamiya would refine for nearly two decades: modular medium-format. By decoupling lens, body, and back, Mamiya gave press photographers and studio shooters the ability to adapt to different shooting situations without buying multiple cameras. A single body could accept a standard 6x9 back for press work, a 6x7 back for portrait orientation, or a Polaroid back for proofing - none of which was standard practice on press cameras of the era.
The Standard's simplicity relative to later models also makes it a useful window into where the design began before feature additions and engineering refinements complicated the system.
The Mamiya Press mount carried through the entire Press line, meaning Standard lenses work on later bodies and vice versa (with caveats for rangefinder coupling):
Interchangeable backs:
BW
Kodak Tri-X 400 is a classic black-and-white film known for strong tonality, visible grain, and documentary character.
View profile →Mamiya Standard Press
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