I guess the trouble with medium format is that once you start down the route of ‘bigger is better’ you start itching for the next format size up from what you have. My Fuji GS645 and Bronica ETRSi are both 6×4.5 cameras and for awhile I’ve been thinking it would be really nice to have a camera that could do 6×6 square format. The big benefit of this is that it allows any kind of crop you’d like (if any) without losing too much image area. Since my preferred way of shooting is with a waist level finder on the Bronica, square format also takes away the ‘landscape only’ limitation that comes from having a non-rotating film back. In portrait orientation, even ignoring the very awkward ergonomics, the image is upside down without a prism to correct it. I can cope with the horizontally flipped image in the waist level finder, but putting it upside down is a step too far!
My first though was to find another range finder camera to get a slightly lighter setup, but after a couple of failed attempts at acquiring a working Mamiya 6 I shelved this idea and decided to go with a Bronica SQ-Ai as they are both reasonably priced and very reliable in my experience. With some eBay luck I was able to purchase an immaculate copy from the early 90s that looked barely used for £299, which is a steal frankly. It may not have the desirability factor of a Hasselblad (or the price tag), but in terms of image quality, usability and durability it’s got nothing to be ashamed of.
So far I’m really loving the square format. I feel like 12 exposures per 120 roll is a good compromise between image size and film economy. The 80mm f2.8 PS is a really lovely lens (about 40mm f1.5 equivalent) and definitely seems sharper than the 75mm f2.8 on the ETRSi, especially when shot wide open). In terms of handling the SQ-Ai, while a couple of hundred grams heavier and definitely a bit bulkier, feels much nicer to use even without a grip. I always found the on-body shutter button on the ETRS bodies a bit indecisive, seemingly needing varying amounts of pressure to fire from one shot to the next. The SQ-Ai by contrast is consistently firm and feels very deliberate. I think this along with the added heft makes it easier to get sharp results at slower shutter speeds more consistently. The SQ-Ai also has a vastly improved mirror lockup mechanism that resets after a shot is taken unless you set it not to. This is unlike the ETRSi where if you forgot to flip a switch the mirror would flip up as you wound on to the next frame.
Anyway enough of my waffling, here’s a few photos taken so far:
This was shot wide open at f2.8, the grass right into the corners is tack sharp where in the plane of focus. This is such a improvement over the 75mm f2.8 on the ETRS and honestly not a common characteristic on many modern lenses which are geared only towards centre sharpness until stopped down.
Finally, I’m working on doing a round up of all the various film types I’ve shot with my thoughts on their rendering, easy of digitising etc. so keep an eye out for that. If you enjoy my writing and images please help support me and the site by purchasing a print from my store here or on Etsy.
2 thoughts on “Seeing Squares”
Superb blog full of infos.
If you were me to decide in between Zenzanon S and Zenzanon PS 80mm / 2.8 – which one would u choose?
Is the vignetting really bad with the S lens?
Asking because I would like to purchase a Bronica SQ-a with Zenzanon S 80 / f2.8.
Thanks for your kind words. I haven’t used any of the older S lenses on my SQ-Ai, but I would say compared to older Bronica lenses on the ETRS I’ve used the PS models are noticeably better at equivalent focal lengths. I don’t think you’ll dislike the 80mm S but if you want the absolute best quality I’d hold out for the PS version.