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Pentax 6×7 (MLU)

Medium format MF film SLR camera

Pentax 6x7 (MLU)

Specification

Production details
Announced:June 1976
System: Pentax 6×7 (1969)
Imaging plane
Maximum format:Medium format 6x7
Mount and Flange focal distance:Pentax 6x7 [84.95mm]
Imaging plane:70 × 55mm film
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:1 - 1/1000 + B
Exposure
Exposure metering:None
Exposure modes:Manual
Physical characteristics
Weight:2235g
Dimensions:177x140x150mm

Manufacturer description

The Pentax 6x7 is a truly unique camera which plays an important role for the photographer. Although it's not a 35mm camera, it offers many of the convenient features inherent in the 35mm SLR design. Its versatile eye-level viewing, a fast electronic focal plane shutter, and rapid wind lever allow it to capture the action spontaneously. Its controls are positioned conveniently for handling ease. Its rugged camera body performs in the most extreme conditions, well-dampered mirror return assures smooth and steady shutter release, and minimizes camera vibration.

The 6x7 also offers a full array of the handy system features of the 35mm camera, including a full line-up of interchangeable lenses, interchangeable viewfinders and focusing screens, and a wide selection of close-up accessories for special uses such as macrophotography or astrophotography.

But, what makes the 6x7 really special is that its negative has five times the image area of the 35mm negative. Its superior 6x7 negative area gives "fine-grain" and excellent image definition on enlargement, plus greater flexibility in the darkroom for retouching manipulations, and other creative applications.

The 6x7 also offers definite advantages over square format cameras. Its 35mm handling and rectangular negative size permits both vertical and horizontal shooting, and its 6x7 "ideal" negative size, while only slightly larger than the 6x6 square format, gives you 50% more usable negative area, because there is minimal cropping when enlarging on standard size papers. The 6x7 negative format avoids the problem of negative waste inherent in square format cameras.

Thus, the 6x7 is a truly unique camera. Although it's not designed for everyone, it's made for the photographer who needs a camera which has the ruggedness and handling ease for action shooting in the field, yet brings out the subtleties of studio work. With the superior 6x7 "ideal" negative format, you get top quality enlargements for whatever kind of work you are doing. In short, it's a camera for the photographer who needs the best of both worlds.

To enhance the photographic versatility of the Pentax 6x7, a wide array of precision photo accessories is available. The 6x7 Accessory System includes 18 bayonet-mount interchangeable lenses running from ultra-wide-angle to super telephoto and including a dynamic fisheye, a 135mm macro for close-up work, a shift-lens for perspective control and a 90mm leaf shutter lens for fast synchronization with flash. Each optic in the system features Pentax Super-Multi-Coating, which improves light transmission and reduces internal reflections for the brilliant color rendition that has made Pentax lenses the choice of photographers around the world.

Special accessories for precision work include an accurate TTL metering pentaprism finder for full-aperture readings with automatic diaphragm lenses, optional viewfinders permitting use of the camera at waist and ground levels, on vertical copystands, and on low-height tripods. There's also an assortment of focusing screens for studio, architectural and other applications. The versatile 6x7 system covers virtually every photographic need.

***

TYPE: 6x7 ideal-format single-lens reflex.

FILM & PICTURE SIZE: 120 roll-film (10 exposures), 220 roll-film (20 exposures), 55mm x 70mm (2-1/4" x 2-3/4").

SHUTTER: Electronically-timed, double-curtain focal-plane shutter; X, B, 1 to 1/1000 sec.

POWER SOURCE: 6V alkaline or silver oxide battery.

BATTERY CHECK: Push-button with indicator lamp.

VIEWFINDER: Detachable pentaprism finder, microprism focusing screen; 0.85x magnification with standard lens; shows 90% of picture area (100% with waist-level finders).

REFLEX MIRROR: Swing-up-and-back instant return mirror with lock-up provision.

FILM TRANSPORT: Rapid-wind lever 180-degree angle with 10 deg. stand off self-cocking shutter.

EXPOSURE COUNTER: Automatic reset exposure counter.

LENS MOUNT: Dual bayonet mounts: inner bayonet for lenses from 35mm to 300mm (plus 500mm and M* 800mm), and outer bayonet for lenses from 400mm to 1000mm (excluding 500mm and M* 800mm).

FLASH SYNCHRONIZATION: FP and X terminals; electronic flash at 1/30 - 1 sec., B.

EXPOSURE METER: Accessory pentaprism with through-the-lens meter (TTL Pentaprism Finder) couples with shutter speed and aperture.

From the editor

A variant of the Pentax 6x7 with Mirror-Lock-Up.

The weight and dimensions are indicated for the camera body with the smc Pentax 6x7 90mm F/2.8 lens mounted.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.