Mamiya RZ67 Pro IID Focusing Screen with 36x48 Crop Lines

[Aryan Aqajani]

I would be very thankful if those who use digital backs on RZ67 can shed some light on the following issues!

At the moment, I only shoot film with my Mamiya RZ67 Pro IID. I am going to purchase one of Bill Maxwell's Hi-Lux plain matte screens with 36x48 crop lines so that I can use my Leaf Aptus-II 5 back on it as well. So, I will be shooting both film and digital with this bright screen!

Now, my concerns are:

• After reading several post, I got this idea that regardless of which focusing screen brand one may choose, she/he will have to adjust it to avoid front/bad focusing issues! Is that true? Did you guys experience any issue when you get your screens changed to one of those newer ones either by Mamiya or Bill Maxwell with crop masking?
• I still would like to shoot film and digital with my RZ. However, I am not sure if I change the screen to one of those ones with crop masking, those lines would be a bit distracting when shooting film and composing in 6x7 format!? Any issue in this regard?

Thank you very much in advance.

[AlDoori]

After reading several post, I got this idea that regardless of which focusing screen brand one may choose, she/he will have to adjust it to avoid front/bad focusing issues!

i use my RZ IID / aptus 22 with mamiya and leaf ground glasses with 36 x 48 lines without any focus problems.
personally, i prefere the mamiya ground glass with the black mask made for the old mamiya digital back.

[AlDoori]

so: the "film plane" of the digital back is the same as the film plane of the film back.

[Aryan Aqajani]

Thanks for the reply mate.

Do you think the cropping lines can distract a bit when you need to see whole 6x7 frame? I just do not like to switch screens to shoot film and/or digital all the time! That is why I would like to know if I can only have the new screen on all the time!

[Sheldon N]

I use my RZ67 with both film and digital. I bought a focusing screen mask from Capture Integration and it just drops in and sits underneath my brightscreen. It's grey/black at the borders, so I need to take it out to see the full screen for 6x7 shooting (not convenient). It's only $10 though, so that's a plus. I'll eventually make a replacement one that's clear out to the borders (printed on acetate and cut to size).

For questions about the focus plane between film vs digital, that's an issue that relates solely to your back and adapter plate, nothing to do with the focus screen. I found that my my Aptus 22 w/ Mamiya RZ adapter plate were slightly different than the film back for plane of focus. I had to adjust the focus screen set screws to dial in focus with the digital back. I'm not sure how far off the digital back is from film, haven't shot any film recently since dialing in the digital back. It's a lot easier to test and see focus calibration on digital since you get instant feedback and can shoot/adjust/shoot/adjust.

[AlDoori]

I bought a focusing screen mask from Capture Integration and it just drops in and sits underneath my bright screen...I found that my Aptus 22 w/ Mamiya RZ adapter plate were slightly different than the film back for plane of focus.

if the mask is under the bright screen it lifts the screen up, no?

[Christoph C. Feldhaim]

Even if your film image plane and your digital back image plane are perfectly aligned, if there are any slight alignment errors between the film plane and focusing screen you will see them quicker on your digital back because of the thickness of your film emulsion which gives greater tolerance. So - theoretically you might have acceptably sharp focusing with film but see focusing errors with your digital back if the focusing screen is not perfectly aligned.

[Sheldon N]

if the mask is under the bright screen it lifts the screen up, no?

No, it is specially cut out to go around the focus posts that the screen rests on. Fits perfectly and doesn't affect focus. Really a nice design, well worth the $10.

[z0624]

I have the Maxwell Hi-Lux diagonal split with micro prism ring with the crop lines.  I never adjusted for front/back focus issues.  2.8 on my 110mm is pretty tough but I think that's more related to my eyes

I don't think the crop lines mess with the overall image of the 6x7 as I find myself looking outside the lines when I'm composing just as much as inside.

[Aryan Aqajani]

Thanks a lot guys for sharing your experiences, I do appreciate it.

After reading your comments, I decided to get a bright screen with crop lines. I think that would be the ultimate clean solution. Just hoping I wouldn't have to mess with screen and lines when I am shooting film with it which is what I do 95% time with RZ.

I am going to place an order for one of Bill Maxwell plain matte Hi-Lux screens. I have to buy a Mamiya Type ASA705 screen and send it back to Bill so that he can brighten it for me. He told me I have two options:

• Brighten the screen up to 2 stops. This would greatly enhance your ability to compose and focus in all kinds of lighting conditions
• Brighten the screen more than 3 stops which is very bright, contrasty, very high optical contrast, very high clarity but of course $100 more expensive than the first option

Which of these do you guys use? If none, another brand, or even original Mamiya screen, do you believe the original Mamiya SA705 is as bright as the original one comes with RZ67 Pro IID?

Thank you once again.

[MarkoRepse]

I have a custom Maxwell brilliant matte screen with crop lines as well as a regular Beattie intenscreen. The Beattie is much brighter but also a lot harder to focus so I don't use it at all. The Maxwell screen is slightly brighter than the regular Mamiya, but is much easier to focus off center and slightly better in the center. The edges are masked, however, from the way its constructed, so I cant really use it for film. For Hi-lux treatment I don't think anything changes. Best to explain to Bill what you would like (brightness, focus accuracy, ...) and ask which one he recommends. You can't have it all And the crop lines you get used to. The horizontal and vertical compositions overlap anyway so you get used to looking at one and ignoring the other. With film it should be no different.

[Aryan Aqajani]

Thanks for the reply. I decided to just shoot film with my RZ67 Pro IID to fully enjoy the lovely huge viewfinder and 6x7 negatives. Fortunately, I can shoot digital with my 645 system. Therefore, I placed an order for a Hi-Lux Brilliant Matte screen with Bill Maxwell. Hopefully, it makes a difference in not so lit locations.

Thanks guys,

[MarkoRepse]

Aryan actually I'd really recommend that you try your RZ digitally, as you know all you need is the adapter and crop lines. The RZ lenses do magic on digital!

PS: nice portfolio, very clean!

[Aryan Aqajani]

Marko, thank you so much for having a look at my website, I do appreciate it

I would love to do that one day! There just some drawbacks that keep me away to use RZ digitally! One of them is the 1.5 crop factor with my DM22 back! I usually shoot with Mamiya 110mm f/2.8 and 50mm f/4.5 ULD lens. The normal 110mm lens would be approximately like a 82mm lens in 35mm format! That makes it very long for the type of portraits I do. The only other option that I have is to get a 65mm lens which equals almost 50mm in 35mm format. The problem with that lens is maximum f/4 aperture! Although I have a great set of Elinchrom Ranger Quadra lights, I prefer to shoot available/natural light whenever I can. Therefore, f/4 and useful ISO 200 on DM22 back is not that helpful!

These days, I shoot  Tri-X 400 in such situations at rate it at ISO 1600 then I develop it in Rodinal! I love how the way the final grains look for ISO 1600. That is another reason to just shoot film with RZ!

So, yeah, generally speaking, the main drawback is 1.5 crop factor and not so fast lenses except 110mm!