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Buyer's Guide
Mamiya RB67 vs RZ67: Which One Should You Buy?
One is a mechanical tank. The other adds speed at a real cost. Both deliver the 6x7 negative.
Two Serious 6x7 Cameras
The Mamiya RB67 and RZ67 are two serious 6x7 medium format cameras. One is a pure mechanical tank from the 1970s. The other is its more advanced electronic sibling from the 1982. Both are modular, both revolve their film backs, and both deliver the large negative that still makes medium format worth carrying.
The RB67 runs on metal and springs. No battery, no electronics, just reliable operation in any condition. The RZ67 keeps the same core layout but adds electronic shutter control and quicker handling.
What they share matters most. Excellent Mamiya lenses, a wide range of backs and finders, and that signature 6x7 look—rich tonality, sharp detail, and the kind of presence smaller formats rarely match.
Right now both systems are in stock at Brooklyn Film Camera, cleaned, serviced, and ready to shoot. The price difference between them is real, which makes the choice more interesting than it first appears.
Mamiya RB67 Pro S — fully mechanical, no battery required, and in stock with 65mm Sekor lens at $850.Mamiya RZ67 Pro — electronic shutter, single-stroke advance, and in stock with 90mm or 180mm lens at $2,450.
Origins
Mamiya introduced the RB67 in 1970. It arrived as a no-nonsense studio tool, built around a revolving film back and a fully mechanical shutter housed in the lenses. The design was simple and tough. Professionals used it for portraits and product work, but it proved reliable enough for location shooting too.
In 1982 Mamiya launched the RZ67. They kept the core 6x7 system and the revolving back, then moved the shutter into the body and added electronic control. The new camera felt more modern without losing the modular layout that made the RB67 popular.
Both systems stayed in production for decades. The RB67 line saw updates through the Pro-S and Pro-SD models. The RZ67 evolved into the Pro II and Pro IID. Yet the basic formula never changed much, which is why used examples still dominate serious medium format kits today.
Build and Handling
Pick up an RB67 and it feels like what it is: a 1970s tank. The all-metal body weighs about six pounds with a standard lens and back. It sits heavy in your hands, solid and deliberate. Every control clicks with a mechanical finality that some photographers still prefer.
The RZ67 sheds a little weight by using more composite materials in the body. It comes in closer to five pounds loaded. The difference is noticeable when you carry it around all day or switch between cameras on a shoot.
Film advance is where the two start to diverge in daily use. On the RB67 you cock the shutter with one lever, then advance the film with another. It is a two-step process that slows you down but never fails. The RZ67 uses a single long stroke on the advance crank. Shutter and film move together in one motion. Once you get used to it the RZ feels faster for handheld work.
Both cameras share the revolving back that made the system famous. Twist the back 90 degrees and you switch between horizontal and vertical without changing your grip or the camera position. It is still one of the most practical features in medium format.
Neither camera is small or quiet. They demand space in a bag and announce themselves with a solid thunk when the shutter fires. But that heft translates into confidence. Drop an RB67 on a light stand or toss an RZ67 in a backpack and both keep working. They were built for working pros who needed gear that did not quit.
The Technical Differences
The real split between the two cameras lives in the shutter and the electronics. On the RB67 the shutter sits inside each lens. It is fully mechanical. You set speed and aperture on the lens barrel, cock the shutter with the body lever, and fire. No battery ever enters the picture. If the mechanism works, the camera works.
The RZ67 flips that design. The shutter moves into the body and becomes electronic. Speed selection shifts to a dial on the body itself. Aperture stays on the lens, but now the camera can link the two. Certain finders add aperture-priority metering. The RZ67 still fires without a battery in emergency mode at 1/400 second, but for normal use you need the 6V cell.
Focusing is identical on paper—both use a bellows that extends from the body—but the RZ67 feels quicker because the controls sit where your hands already are. Shutter speed on the body means you rarely have to look away from the viewfinder.
Lens compatibility favors the RB67 owner in one important way. Every RB lens works perfectly on an RZ body. The reverse is not true. RZ lenses have an extra electronic coupling and will not mount on the RB67. That single fact keeps many photographers buying an RB first and adding an RZ body later.
Finders and backs are interchangeable across much of both systems. You can move a waist-level finder or a 120 film back from one camera to the other with almost no fuss. The RZ67 does add a few small upgrades—better masking in the viewfinder and support for some tilt-shift adapters—but the core modular idea remains the same.
In practice the RB67 is the simpler machine. Fewer things can break. The RZ67 is the faster one. More things can be adjusted without taking your eye from the finder. Which matters more depends on the kind of work you do.
RB67 vs. RZ67 at a Glance
ShutterMechanical in lens (RB67) / Electronic in body (RZ67)
BatteryNone required (RB67) / 6V required (RZ67)
Film AdvanceTwo-step lever (RB67) / Single-stroke crank (RZ67)
Speed ControlOn the lens (RB67) / On the body (RZ67)
Lens CompatibilityRB lenses fit RZ bodies — not the reverse
Revolving BackYes — both
Format6x7 on 120 film — both
Lenses and the 6x7 Negative
The Mamiya lenses are what turn both cameras into serious tools. The RB67 takes Sekor glass in early C versions and later KL designs. The RZ67 uses its own dedicated line. In real use the gap is narrow. The KL lenses on the RB often match the RZ glass in sharpness and rendering because they share the same updated optics and coatings.
You can cover just about any focal length. The 65mm f/4.5 gives a useful wide view without distortion. The 90mm f/3.8 is the classic normal that most kits start with. Longer options like the 180mm turn portraits into something with real separation. Macro lenses and telephotos round out the system for anyone who wants to specialize.
What matters more than the lens badges is the 6x7 negative itself. That big frame delivers tonality and detail that smaller formats simply do not. Skies hold subtle gradients. Shadows keep texture. Prints show a presence that makes people stop and look twice. The glass is sharp without being clinical. It renders skin tones naturally and handles contrast in a way that feels straightforward rather than engineered.
At Brooklyn Film Camera the current kits show this in practice. The RB67 often comes with the 65mm Sekor. The RZ67 Pro pairs with the 90mm or 180mm. Both produce clean, rich files when scanned. The negative does the heavy lifting. The lenses just get out of the way and let it happen.
Shooting with Them
Shooting an RB67 forces a slower, more considered pace. You cock the shutter with one lever, advance the film with another. The two-step process makes every frame deliberate. Some photographers enjoy this rhythm. Others find it tedious when the moment is moving fast.
The RZ67 feels quicker in the hands. One long stroke on the crank advances the film and cocks the shutter together. Shutter speeds sit on the body, easy to change without pulling away from the viewfinder. For portrait sessions or any work where you make many exposures it adds real efficiency.
Reliability favors the RB67. No battery means no dead camera at the wrong time. It will fire in extreme cold, after years in storage, or when you are miles from a store. The RZ67 needs a 6V battery to run normally. It can still fire at 1/400 second without power, but you lose metering and most controls.
Both cameras are heavy and loud. The mirror slap and shutter thunk announce each exposure. After a full day of carrying either one, your shoulder knows it. Yet that weight gives the sense that the camera was built for serious work.
In practice the RB67 suits photographers who value simplicity and total independence. The RZ67 suits those who want a faster workflow and are willing to manage a battery.
Many photographers start with the RB67 and later add an RZ body. The lenses move between them without issue, so you can keep the cheaper tank for rough duty and bring out the faster camera when the job demands it.
Price and Value
The price difference between the two systems is substantial.
A serviced Mamiya RB67 kit with a 65mm f/4.5 lens currently sells for $850 at Brooklyn Film Camera. A comparable RZ67 Pro kit with a 90mm lens runs $2,450. Nearly three times the cost.
That gap buys you quicker operation, body-mounted shutter speeds, and the option for aperture-priority metering. For some photographers the convenience is worth it. For others it is not.
Both cameras have good long-term support. Lenses, backs, and finders are still common and reasonably priced. Repair costs are comparable when something eventually needs attention.
The RB67 gives you most of the capability at a much lower price. The RZ67 charges a premium for better ergonomics and features. The decision usually comes down to whether the faster workflow justifies the extra money.
Mamiya
RB67
Fully mechanical. No battery required. Two-step shutter cocking and film advance. Controls on the lens.
Best for studio sessions, landscape, and any work where deliberate pacing is an advantage.
$850 — with 65mm Sekor lens
Mamiya
RZ67 Pro
Electronic shutter in the body. Single-stroke advance. Shutter speed dial on the body. Optional aperture-priority metering.
Best for portrait work, commercial jobs, and sessions where you make many exposures quickly.
$2,450 — with 90mm or 180mm lens
The Trade-offs
The RB67 gives up speed for pure mechanical simplicity. It costs less, needs no battery, and will fire every time regardless of conditions or age. But the separate cocking and film advance levers make it slower in the field. Controls sit on the lenses, so you glance away more often.
The RZ67 gives up money and some reliability for smoother operation. The single-stroke advance and body-mounted shutter dial speed up your workflow. Aperture-priority metering appears with the right finder. Yet it demands a fresh 6V battery or falls back to a single mechanical speed.
Both systems share the same revolving back and modular parts. Both deliver the 6x7 negative. The real difference is how much convenience you are willing to pay for and whether you mind carrying a spare battery.
Which One Makes Sense for You
It comes down to three things: how much you want to spend, how fast you need to work, and how much you care about never touching a battery.
Choose the RB67 if money matters and reliability is non-negotiable. At eight hundred fifty dollars you get a complete, serviced kit that will fire every time, in any weather, after sitting unused for a decade. The two-step advance keeps your pace deliberate. That suits studio sessions, landscape trips, or any work where you set up once and shoot carefully. The mechanical simplicity means fewer things can go wrong when the nearest repair shop is two states away.
Choose the RZ67 if you value speed and are willing to pay for it. The single-stroke advance and body-mounted controls shave seconds off every frame. Aperture-priority metering with the right finder makes controlled shoots more fluid. The two-thousand-four-hundred-fifty-dollar price buys that convenience. It fits portrait work, commercial jobs, or any situation where you make dozens of exposures in a session and want the camera to stay out of your way.
Many photographers start with the RB67 and later add an RZ body. The lenses move between them without issue, so you can keep the cheaper tank for rough duty and bring out the faster camera when the job demands it.
Look at your own bag and your own calendar. The right choice is the one you will actually reach for.
The Verdict
Both the RB67 and RZ67 are honest 6x7 cameras that have earned their reputation. One keeps things simple and cheap. The other adds speed at a real cost. Neither is wrong.
For most people the RB67 makes the clearest sense. Eight hundred fifty dollars gets you a complete, serviced kit that will run forever without a battery and still deliver the big negative everyone wants. It is the practical choice for anyone testing medium format or working on a budget.
The RZ67 is the right move if you already know you will shoot a lot and want the faster workflow. The extra money buys convenience that pays off over time.
Either camera will last decades. Right now both are in stock at Brooklyn Film Camera, cleaned, tested, and ready to go. Look at the current kits, match them to your own shooting habits, and pick the one you will actually use.
Mamiya RB67 vs RZ67: Which One Should You Buy?
One is a mechanical tank. The other adds speed at a real cost. Both deliver the 6x7 negative.
Two Serious 6x7 Cameras
The Mamiya RB67 and RZ67 are two serious 6x7 medium format cameras. One is a pure mechanical tank from the 1970s. The other is its more advanced electronic sibling from the 1982. Both are modular, both revolve their film backs, and both deliver the large negative that still makes medium format worth carrying.
The RB67 runs on metal and springs. No battery, no electronics, just reliable operation in any condition. The RZ67 keeps the same core layout but adds electronic shutter control and quicker handling.
What they share matters most. Excellent Mamiya lenses, a wide range of backs and finders, and that signature 6x7 look—rich tonality, sharp detail, and the kind of presence smaller formats rarely match.
Right now both systems are in stock at Brooklyn Film Camera, cleaned, serviced, and ready to shoot. The price difference between them is real, which makes the choice more interesting than it first appears.
Origins
Mamiya introduced the RB67 in 1970. It arrived as a no-nonsense studio tool, built around a revolving film back and a fully mechanical shutter housed in the lenses. The design was simple and tough. Professionals used it for portraits and product work, but it proved reliable enough for location shooting too.
In 1982 Mamiya launched the RZ67. They kept the core 6x7 system and the revolving back, then moved the shutter into the body and added electronic control. The new camera felt more modern without losing the modular layout that made the RB67 popular.
Both systems stayed in production for decades. The RB67 line saw updates through the Pro-S and Pro-SD models. The RZ67 evolved into the Pro II and Pro IID. Yet the basic formula never changed much, which is why used examples still dominate serious medium format kits today.
Build and Handling
Pick up an RB67 and it feels like what it is: a 1970s tank. The all-metal body weighs about six pounds with a standard lens and back. It sits heavy in your hands, solid and deliberate. Every control clicks with a mechanical finality that some photographers still prefer.
The RZ67 sheds a little weight by using more composite materials in the body. It comes in closer to five pounds loaded. The difference is noticeable when you carry it around all day or switch between cameras on a shoot.
Film advance is where the two start to diverge in daily use. On the RB67 you cock the shutter with one lever, then advance the film with another. It is a two-step process that slows you down but never fails. The RZ67 uses a single long stroke on the advance crank. Shutter and film move together in one motion. Once you get used to it the RZ feels faster for handheld work.
Both cameras share the revolving back that made the system famous. Twist the back 90 degrees and you switch between horizontal and vertical without changing your grip or the camera position. It is still one of the most practical features in medium format.
Neither camera is small or quiet. They demand space in a bag and announce themselves with a solid thunk when the shutter fires. But that heft translates into confidence. Drop an RB67 on a light stand or toss an RZ67 in a backpack and both keep working. They were built for working pros who needed gear that did not quit.
The Technical Differences
The real split between the two cameras lives in the shutter and the electronics. On the RB67 the shutter sits inside each lens. It is fully mechanical. You set speed and aperture on the lens barrel, cock the shutter with the body lever, and fire. No battery ever enters the picture. If the mechanism works, the camera works.
The RZ67 flips that design. The shutter moves into the body and becomes electronic. Speed selection shifts to a dial on the body itself. Aperture stays on the lens, but now the camera can link the two. Certain finders add aperture-priority metering. The RZ67 still fires without a battery in emergency mode at 1/400 second, but for normal use you need the 6V cell.
Focusing is identical on paper—both use a bellows that extends from the body—but the RZ67 feels quicker because the controls sit where your hands already are. Shutter speed on the body means you rarely have to look away from the viewfinder.
Lens compatibility favors the RB67 owner in one important way. Every RB lens works perfectly on an RZ body. The reverse is not true. RZ lenses have an extra electronic coupling and will not mount on the RB67. That single fact keeps many photographers buying an RB first and adding an RZ body later.
Finders and backs are interchangeable across much of both systems. You can move a waist-level finder or a 120 film back from one camera to the other with almost no fuss. The RZ67 does add a few small upgrades—better masking in the viewfinder and support for some tilt-shift adapters—but the core modular idea remains the same.
In practice the RB67 is the simpler machine. Fewer things can break. The RZ67 is the faster one. More things can be adjusted without taking your eye from the finder. Which matters more depends on the kind of work you do.
RB67 vs. RZ67 at a Glance
Lenses and the 6x7 Negative
The Mamiya lenses are what turn both cameras into serious tools. The RB67 takes Sekor glass in early C versions and later KL designs. The RZ67 uses its own dedicated line. In real use the gap is narrow. The KL lenses on the RB often match the RZ glass in sharpness and rendering because they share the same updated optics and coatings.
You can cover just about any focal length. The 65mm f/4.5 gives a useful wide view without distortion. The 90mm f/3.8 is the classic normal that most kits start with. Longer options like the 180mm turn portraits into something with real separation. Macro lenses and telephotos round out the system for anyone who wants to specialize.
What matters more than the lens badges is the 6x7 negative itself. That big frame delivers tonality and detail that smaller formats simply do not. Skies hold subtle gradients. Shadows keep texture. Prints show a presence that makes people stop and look twice. The glass is sharp without being clinical. It renders skin tones naturally and handles contrast in a way that feels straightforward rather than engineered.
At Brooklyn Film Camera the current kits show this in practice. The RB67 often comes with the 65mm Sekor. The RZ67 Pro pairs with the 90mm or 180mm. Both produce clean, rich files when scanned. The negative does the heavy lifting. The lenses just get out of the way and let it happen.
Shooting with Them
Shooting an RB67 forces a slower, more considered pace. You cock the shutter with one lever, advance the film with another. The two-step process makes every frame deliberate. Some photographers enjoy this rhythm. Others find it tedious when the moment is moving fast.
The RZ67 feels quicker in the hands. One long stroke on the crank advances the film and cocks the shutter together. Shutter speeds sit on the body, easy to change without pulling away from the viewfinder. For portrait sessions or any work where you make many exposures it adds real efficiency.
Reliability favors the RB67. No battery means no dead camera at the wrong time. It will fire in extreme cold, after years in storage, or when you are miles from a store. The RZ67 needs a 6V battery to run normally. It can still fire at 1/400 second without power, but you lose metering and most controls.
Both cameras are heavy and loud. The mirror slap and shutter thunk announce each exposure. After a full day of carrying either one, your shoulder knows it. Yet that weight gives the sense that the camera was built for serious work.
In practice the RB67 suits photographers who value simplicity and total independence. The RZ67 suits those who want a faster workflow and are willing to manage a battery.
Price and Value
The price difference between the two systems is substantial.
A serviced Mamiya RB67 kit with a 65mm f/4.5 lens currently sells for $850 at Brooklyn Film Camera. A comparable RZ67 Pro kit with a 90mm lens runs $2,450. Nearly three times the cost.
That gap buys you quicker operation, body-mounted shutter speeds, and the option for aperture-priority metering. For some photographers the convenience is worth it. For others it is not.
Both cameras have good long-term support. Lenses, backs, and finders are still common and reasonably priced. Repair costs are comparable when something eventually needs attention.
The RB67 gives you most of the capability at a much lower price. The RZ67 charges a premium for better ergonomics and features. The decision usually comes down to whether the faster workflow justifies the extra money.
Fully mechanical. No battery required. Two-step shutter cocking and film advance. Controls on the lens.
Best for studio sessions, landscape, and any work where deliberate pacing is an advantage.
$850 — with 65mm Sekor lensElectronic shutter in the body. Single-stroke advance. Shutter speed dial on the body. Optional aperture-priority metering.
Best for portrait work, commercial jobs, and sessions where you make many exposures quickly.
$2,450 — with 90mm or 180mm lensThe Trade-offs
The RB67 gives up speed for pure mechanical simplicity. It costs less, needs no battery, and will fire every time regardless of conditions or age. But the separate cocking and film advance levers make it slower in the field. Controls sit on the lenses, so you glance away more often.
The RZ67 gives up money and some reliability for smoother operation. The single-stroke advance and body-mounted shutter dial speed up your workflow. Aperture-priority metering appears with the right finder. Yet it demands a fresh 6V battery or falls back to a single mechanical speed.
Both systems share the same revolving back and modular parts. Both deliver the 6x7 negative. The real difference is how much convenience you are willing to pay for and whether you mind carrying a spare battery.
Which One Makes Sense for You
It comes down to three things: how much you want to spend, how fast you need to work, and how much you care about never touching a battery.
Choose the RB67 if money matters and reliability is non-negotiable. At eight hundred fifty dollars you get a complete, serviced kit that will fire every time, in any weather, after sitting unused for a decade. The two-step advance keeps your pace deliberate. That suits studio sessions, landscape trips, or any work where you set up once and shoot carefully. The mechanical simplicity means fewer things can go wrong when the nearest repair shop is two states away.
Choose the RZ67 if you value speed and are willing to pay for it. The single-stroke advance and body-mounted controls shave seconds off every frame. Aperture-priority metering with the right finder makes controlled shoots more fluid. The two-thousand-four-hundred-fifty-dollar price buys that convenience. It fits portrait work, commercial jobs, or any situation where you make dozens of exposures in a session and want the camera to stay out of your way.
Many photographers start with the RB67 and later add an RZ body. The lenses move between them without issue, so you can keep the cheaper tank for rough duty and bring out the faster camera when the job demands it.
Look at your own bag and your own calendar. The right choice is the one you will actually reach for.
The Verdict
Both the RB67 and RZ67 are honest 6x7 cameras that have earned their reputation. One keeps things simple and cheap. The other adds speed at a real cost. Neither is wrong.
For most people the RB67 makes the clearest sense. Eight hundred fifty dollars gets you a complete, serviced kit that will run forever without a battery and still deliver the big negative everyone wants. It is the practical choice for anyone testing medium format or working on a budget.
The RZ67 is the right move if you already know you will shoot a lot and want the faster workflow. The extra money buys convenience that pays off over time.
Either camera will last decades. Right now both are in stock at Brooklyn Film Camera, cleaned, tested, and ready to go. Look at the current kits, match them to your own shooting habits, and pick the one you will actually use.
Both cleaned, serviced, and ready to shoot.