I enjoyed the history. I have an Omega 4x5 enlarger. I can see why the camera was popular for wedding photographers. Fast reloads, big negative to 4x5 & 8x10 proportions, ergonomic, big rangefinder for fast focus. I used a C330 and a 500c plus a Rolleiflex but the big 6x7 seems ideal. What a tank too! Thanks for posting this.
Thank you so much! I really appreciate your comment. I try to present what interests me, and also what might not already be receiving a lot of coverage on RUclips.
This is great presentation about these very underestimated cameras. I own a few of them with all available lenses (which give superb results). It's worth to mention that Rapid Omega M was sold in Japan under name Konica Press 2.
Always nice to see a video on one of my favorite cameras. I'll offer a few comments to clarify or add missing information, which may be useful if you are considering buying into the system. 1. They were very heavily used professionally, so while there are units on eBay, you must take care to get one in good working order. There is one guy in the Midwest who has worked on these for years, but he must be facing retirement. The only part which ever needs repair are the film backs, and they are far more complex and hard to work on than you would imagine. (See YT video on that repair.) 2. The very first model is the one he shows here. It is not the one you should buy if you are going into the system. Its film back is unique and not interchangeable with later models. It does not allow use of film magazines. The film back which replaced it works in all later models, both magazine or not, whether made by Konica or Mamiya. This first model uses most of the accessories and all the lenses. 3. Konica made the camera through 1972, then sold all tools, dies and manufacturing rights to Mamiya, effectively getting out of medium format. Konica made the lenses. There is some unresolved question whether the lenses labelled and sold by Mamiya for their "Rapid Omega" models were made by them or rebadged Konica-made lenses. 4. The lenses for the system are unique, in that no other lens makers provided lenses to fit the system. Konica initially made three lenses: (1) a 6-element 60mm, copied from the Schneider Angulon, (2) a 4-element 90mm copied from the Zeiss Tessar, and (3) a 180mm, copied from the Schneider Tele-Xenar, or something similar. Later, Konica discontinued the 6-element 60mm and replaced it with an 8-element 58mm based on the Super Angulon. Still later, Konica added a 135mm based in the Zeiss Tele-Sonnar. This last lens is both rare and expensive compared to the others. One way to trace the age of a body is to examine the depth of field scales on the rangefinder, as only the later Konis have a 135mm lens scale. All of these lenses are superb performers by today's standards. 5. Accessories, some common and some very rare, include 2 ranges of close-up lenses with rangefinder adapting lenses to match. (Just like a modern Mamiya 7.) A light shielding eyecup-rare. Several parts to couple old Graflex-type flash units to the right side of the body - common, as they go unused. A ground glass back which replaced the film back to focus with various close-up spacers which fit between body and lens, which are not rangefinder coupled. (Hen's teeth rare.) A custom-fitted hard case to hold the whole system. (See ground glass back rare). 6. If you review the manual for the Koni Rapid M, you will discover a list of small convenience features, which include colored flag-type indicators to read out status of shutter cock, film advance, and a now-obsolete system for setting proper exposure for flash guns of various light outputs. The film back used on later models incorporates a dark slide which stores in a slot in the back. Be sure a back you buy has its slide. This used to be a very inexpensive MF system to acquire, but prices today are 2x - 3x what I paid for mine in the mid-1980s and going up every year.
Fantastic, this is really great information, thank you so much for taking the time to share this! I also tracked down a copy of the 58mm wide angle lens, which is outstanding. You're absolutely right about needing to be very particular about finding one in good working order if you're considering buying one. The expert repair person in the Midwest is Greg Weber--I can report that unfortunately he has officially retired from his repair business. Your comments remind me that I forgot to mention one other interesting function on the original Koni-Omega Rapid: there is a dial-operated internal shutter in the camera body that must be closed in order to change lenses (to prevent exposing film while changing lenses). It is very cleverly engineered with two interlocks, one to prevent removing the lens unless the shutter is closed, and another to prevent tripping the camera shutter unless the body shutter is open. Very clever! I also meant to mention that the lenses can synchronize with either flashbulbs or electronic flash, so for folks like me who still enjoy shooting flashbulbs this camera system can do that. Thanks again for your great comments, I really appreciate it! The more information we can share, the better.
@@oddballcamera Funny, how so many features and functions of the Koni-Omega system filtered down into the designs for the Mamiya 6 and 7 cameras 20 years later. In terms of durability and utility, the Koni Rapid M or Rapid Omege 200 models are superior to the later Mamiya RF systems. but they probably weight twice as much, too.
@@MezeiEugen Nearly every electronic flash made in the last 50 years uses some system of auto exposure control, which relieves the user of having to use a "guide number"/distance calculation to determine the f-stop required for each exposure. I exclude in-studio multiple flash setups, where exposure used to be determined with Polaroid tests, or today, where flash meters are commonly used. The Koni bodies offer a small cardholder on the top of the lens barrel where the user can insert a card with a user-made graph based on the light output of each type of flash used, one for each light source. As the lens is focused, more or less of the graph is revealed, effectively indexing the f-stop required for proper exposure. This required the user to test his flash output to verify effect exposure at each distance, then draw a graph line on the card to reflect that data. That was a lot of work, but once done, it works perfectly because, as you say, it's just physics. Frankly, I doubt any Koni users have bothered with that system since the wedding photographers retired their cameras. Don't forget that back in the day, the guide numbers reported by the manufacturers for their flash units were nothing but advertising fluff to compete for sales, so everyone who used manual flashes, or bulbs before then, were on their own to determine a truly functional output number for their unit.
I bought one of these for the same reason you did, and have grown to love it already after just 6 or so rolls of film. Man oh man is it heavy! But worth the work-out
My dad was a commercial photographer and the Koni was one of his favorites. He primarily used it to take pictures of weddings and Bar Mitzvahs. After he passed away I sold it. The store that bought his equipment paid pennies on the dollar. At that time digital photography was taking off and no one was interested in large format film cameras that were heavily used.
That's great to hear about your personal connection with this camera through your dad. Yes, I also sold a number of film cameras for almost nothing back when digital was taking over, and I still regret it!
Another interesting camera that I had never heard of. Well done, and I notice that you have passed your first thousand subscribers. Congratulations...richly deserved.
The Mamiya Press cameras are quite similar (if a little bigger). I have a Super 23 version with both 6x7 and 6x9 backs and find it really nice to use. The Super 23 also has some built in movements, but requires that you use a ground glass back to make the most of that function.
These were very popular with wedding photographers. They were are fast to use snd had multiple backs that could be loaded ahead of time. There is also a slot in the back to stowe the dark slide.
Really cool seeing this! I owned this camera in 1983 when I was in junior high. Used it for yearbook sports photography briefly. The push-pull film advance on mine was unreliable and often gave me overlapping frames. Definitely an unusual camera and so charming that you chose to review one. Loved your photos, especially the B&W ones. One thing you didn’t mention is that it is an interchangeable lens camera. The built-in knob controlled darkslide is rather novel and makes a weird clacking sound when you close it to protect the film before you unmount the lens. Anyway, great video and looking forward to many more!
That's so great that you used one of these back in the '80s! Yes, I forgot to mention a few things about the camera that I meant to talk about. The body shutter for changing lenses was something I forgot to demonstrate!
Thank you! One of these days I want to do a full day of just taking photos around Astoria, like you've done in your videos. It's such a great town for shooting!
@@oddballcamera Indeed, I found a tutorial on CLA'ing the clutch of the backs, which is awesome. I did realize that despite putting a few rolls through the camera, I had improperly loaded my two most recent rolls by aligning the arrows on the wrong side. Spacing issue fixed!
@@liamteh3rd This is an issue. It results from the fact that the little red indexing marks inside the film back are not usually located where they are apparent and easily found. Another issue is that the location of the indexing marks seems to be different between some backs. The final problem is that about half the YT videos which claim to show how to load film in the back either make no effort to index the "Start" on the film backing paper, or they use an improper reference. Best practice: Download a manual for your version of the camera and review film loading technique. (This is another reason why using 220 backs, which are a dime a dozen, to load 120 film does not work.)
@@liamteh3rd Perhaps I should have been less "absolute" in my comment. The backs can develop spacing issues, probably more from dirt and dried lube than wear and tear. A film which is not properly indexed at loading may lose a frame or two at the beginning or end of the roll, but it would not have frame overlaps or uncommonly wide gaps between frames.
The Simmon Omega 120 you mentioned is also a great camera if you can find one in decent condition. They are pretty simple to fix if you are handy too. Much lighter than the Koni Omega 120, has a killer Tessar design lens with great bokeh and just as oddball looking.
That's really great to hear. I would love to have one of those cameras also someday, if I can find a good one. I understand that the bodies were made out of magnesium, which is why they are so lightweight for their size.
@@oddballcamera The version sold to the public in the early 1950s is noted for its considerable use of Bakelite, an early hard plastic, for non-structural parts. This was a weight-saving innovation for its time. The shutter and lens were supplied by Wollensak in NY. The lens is a very good Tessar-copy. The final camera is a clear leader in the "most ugly camera ever" category.
I enjoyed the history. I have an Omega 4x5 enlarger. I can see why the camera was popular for wedding photographers. Fast reloads, big negative to 4x5 & 8x10 proportions, ergonomic, big rangefinder for fast focus. I used a C330 and a 500c plus a Rolleiflex but the big 6x7 seems ideal. What a tank too! Thanks for posting this.
I'm glad you enjoyed it, thank you for the comments!
Thanks for the very interesting video!
Glad I found your channel, so refreshing compared to the rest of RUclips’s analogue photography ecosystem. 🍻
Thank you so much! I really appreciate your comment. I try to present what interests me, and also what might not already be receiving a lot of coverage on RUclips.
This is great presentation about these very underestimated cameras. I own a few of them with all available lenses (which give superb results).
It's worth to mention that Rapid Omega M was sold in Japan under name Konica Press 2.
@@pitherh8059 Thanks for your comments, really appreciated! Yes good point about the sale of the camera in Japan by Konica under a different name.
Always nice to see a video on one of my favorite cameras. I'll offer a few comments to clarify or add missing information, which may be useful if you are considering buying into the system.
1. They were very heavily used professionally, so while there are units on eBay, you must take care to get one in good working order. There is one guy in the Midwest who has worked on these for years, but he must be facing retirement. The only part which ever needs repair are the film backs, and they are far more complex and hard to work on than you would imagine. (See YT video on that repair.)
2. The very first model is the one he shows here. It is not the one you should buy if you are going into the system. Its film back is unique and not interchangeable with later models. It does not allow use of film magazines. The film back which replaced it works in all later models, both magazine or not, whether made by Konica or Mamiya. This first model uses most of the accessories and all the lenses.
3. Konica made the camera through 1972, then sold all tools, dies and manufacturing rights to Mamiya, effectively getting out of medium format. Konica made the lenses. There is some unresolved question whether the lenses labelled and sold by Mamiya for their "Rapid Omega" models were made by them or rebadged Konica-made lenses.
4. The lenses for the system are unique, in that no other lens makers provided lenses to fit the system. Konica initially made three lenses: (1) a 6-element 60mm, copied from the Schneider Angulon, (2) a 4-element 90mm copied from the Zeiss Tessar, and (3) a 180mm, copied from the Schneider Tele-Xenar, or something similar. Later, Konica discontinued the 6-element 60mm and replaced it with an 8-element 58mm based on the Super Angulon. Still later, Konica added a 135mm based in the Zeiss Tele-Sonnar. This last lens is both rare and expensive compared to the others. One way to trace the age of a body is to examine the depth of field scales on the rangefinder, as only the later Konis have a 135mm lens scale. All of these lenses are superb performers by today's standards.
5. Accessories, some common and some very rare, include 2 ranges of close-up lenses with rangefinder adapting lenses to match. (Just like a modern Mamiya 7.) A light shielding eyecup-rare. Several parts to couple old Graflex-type flash units to the right side of the body - common, as they go unused. A ground glass back which replaced the film back to focus with various close-up spacers which fit between body and lens, which are not rangefinder coupled. (Hen's teeth rare.) A custom-fitted hard case to hold the whole system. (See ground glass back rare).
6. If you review the manual for the Koni Rapid M, you will discover a list of small convenience features, which include colored flag-type indicators to read out status of shutter cock, film advance, and a now-obsolete system for setting proper exposure for flash guns of various light outputs. The film back used on later models incorporates a dark slide which stores in a slot in the back. Be sure a back you buy has its slide.
This used to be a very inexpensive MF system to acquire, but prices today are 2x - 3x what I paid for mine in the mid-1980s and going up every year.
Fantastic, this is really great information, thank you so much for taking the time to share this! I also tracked down a copy of the 58mm wide angle lens, which is outstanding. You're absolutely right about needing to be very particular about finding one in good working order if you're considering buying one. The expert repair person in the Midwest is Greg Weber--I can report that unfortunately he has officially retired from his repair business. Your comments remind me that I forgot to mention one other interesting function on the original Koni-Omega Rapid: there is a dial-operated internal shutter in the camera body that must be closed in order to change lenses (to prevent exposing film while changing lenses). It is very cleverly engineered with two interlocks, one to prevent removing the lens unless the shutter is closed, and another to prevent tripping the camera shutter unless the body shutter is open. Very clever! I also meant to mention that the lenses can synchronize with either flashbulbs or electronic flash, so for folks like me who still enjoy shooting flashbulbs this camera system can do that. Thanks again for your great comments, I really appreciate it! The more information we can share, the better.
@@oddballcamera Funny, how so many features and functions of the Koni-Omega system filtered down into the designs for the Mamiya 6 and 7 cameras 20 years later. In terms of durability and utility, the Koni Rapid M or Rapid Omege 200 models are superior to the later Mamiya RF systems. but they probably weight twice as much, too.
Why do you consider the exposure system for flash obsolete? Square law of light fall off is still in place, or did physics change?
@@MezeiEugen Nearly every electronic flash made in the last 50 years uses some system of auto exposure control, which relieves the user of having to use a "guide number"/distance calculation to determine the f-stop required for each exposure. I exclude in-studio multiple flash setups, where exposure used to be determined with Polaroid tests, or today, where flash meters are commonly used. The Koni bodies offer a small cardholder on the top of the lens barrel where the user can insert a card with a user-made graph based on the light output of each type of flash used, one for each light source. As the lens is focused, more or less of the graph is revealed, effectively indexing the f-stop required for proper exposure. This required the user to test his flash output to verify effect exposure at each distance, then draw a graph line on the card to reflect that data. That was a lot of work, but once done, it works perfectly because, as you say, it's just physics. Frankly, I doubt any Koni users have bothered with that system since the wedding photographers retired their cameras. Don't forget that back in the day, the guide numbers reported by the manufacturers for their flash units were nothing but advertising fluff to compete for sales, so everyone who used manual flashes, or bulbs before then, were on their own to determine a truly functional output number for their unit.
I bought one of these for the same reason you did, and have grown to love it already after just 6 or so rolls of film. Man oh man is it heavy! But worth the work-out
Yes! I have actually been a little surprised at how much I love shooting with this camera. But yes it's definitely a workout!
Wir haben definitiv den besten Bundeskanzler ever, jetzt reviewt der auch noch Kameras! Find ich mega gut, weiter so!
My dad was a commercial photographer and the Koni was one of his favorites. He primarily used it to take pictures of weddings and Bar Mitzvahs. After he passed away I sold it. The store that bought his equipment paid pennies on the dollar. At that time digital photography was taking off and no one was interested in large format film cameras that were heavily used.
That's great to hear about your personal connection with this camera through your dad. Yes, I also sold a number of film cameras for almost nothing back when digital was taking over, and I still regret it!
Another interesting camera that I had never heard of. Well done, and I notice that you have passed your first thousand subscribers. Congratulations...richly deserved.
Thank you, I really appreciate it!
The Mamiya Press cameras are quite similar (if a little bigger).
I have a Super 23 version with both 6x7 and 6x9 backs and find it really nice to use.
The Super 23 also has some built in movements, but requires that you use a ground glass back to make the most of that function.
The Mamiya Press cameras are very interesting for sure! I'd love to get my hands on a Super 23 someday. Nice camera!
These were very popular with wedding photographers. They were are fast to use snd had multiple backs that could be loaded ahead of time.
There is also a slot in the back to stowe the dark slide.
Really cool seeing this! I owned this camera in 1983 when I was in junior high. Used it for yearbook sports photography briefly. The push-pull film advance on mine was unreliable and often gave me overlapping frames. Definitely an unusual camera and so charming that you chose to review one. Loved your photos, especially the B&W ones. One thing you didn’t mention is that it is an interchangeable lens camera. The built-in knob controlled darkslide is rather novel and makes a weird clacking sound when you close it to protect the film before you unmount the lens. Anyway, great video and looking forward to many more!
That's so great that you used one of these back in the '80s! Yes, I forgot to mention a few things about the camera that I meant to talk about. The body shutter for changing lenses was something I forgot to demonstrate!
Fascinating and thought provoking, as always! We really enjoy your posts. Thank you!
Thank you, I really appreciate your feedback!
Great stuff! Loved the detailed run down on the history of the camera! You also got some great photos in Astoria!
Thank you! One of these days I want to do a full day of just taking photos around Astoria, like you've done in your videos. It's such a great town for shooting!
I used one in the Navy in the early 80s.
Great video, I'd heard about this camera but I never knew it's background. Many thanks for a well researched and informative presentation!
Thank you! I try to provide researched information as much as possible.
You are in near me! Do you have any suggestions on where to get the back serviced? Thanks!
Yes, I had the back on my camera serviced by Advance Camera Repair in Portland, OR. They did great work at a reasonable price. Good luck!
Thank you!
I’ve been rehabbing a Rapid M slowly, I believe both my lenses are working now, but the film magazine is having spacing issues now lol
That's awesome that you're bringing a Rapid M back to life! Yeah I guess frame spacing issues is a relatively common problem with these.
@@oddballcamera Indeed, I found a tutorial on CLA'ing the clutch of the backs, which is awesome. I did realize that despite putting a few rolls through the camera, I had improperly loaded my two most recent rolls by aligning the arrows on the wrong side. Spacing issue fixed!
@@liamteh3rd This is an issue. It results from the fact that the little red indexing marks inside the film back are not usually located where they are apparent and easily found. Another issue is that the location of the indexing marks seems to be different between some backs. The final problem is that about half the YT videos which claim to show how to load film in the back either make no effort to index the "Start" on the film backing paper, or they use an improper reference. Best practice: Download a manual for your version of the camera and review film loading technique. (This is another reason why using 220 backs, which are a dime a dozen, to load 120 film does not work.)
@@randallstewart1224 Thank you so much for your advice, I'll find a copy of the manual to download for future reference!
@@liamteh3rd Perhaps I should have been less "absolute" in my comment. The backs can develop spacing issues, probably more from dirt and dried lube than wear and tear. A film which is not properly indexed at loading may lose a frame or two at the beginning or end of the roll, but it would not have frame overlaps or uncommonly wide gaps between frames.
Another great video!
Thanks Dave! More on the way...stay tuned
Great stuff!
Thank you!
The Simmon Omega 120 you mentioned is also a great camera if you can find one in decent condition. They are pretty simple to fix if you are handy too. Much lighter than the Koni Omega 120, has a killer Tessar design lens with great bokeh and just as oddball looking.
That's really great to hear. I would love to have one of those cameras also someday, if I can find a good one. I understand that the bodies were made out of magnesium, which is why they are so lightweight for their size.
@@oddballcamera The version sold to the public in the early 1950s is noted for its considerable use of Bakelite, an early hard plastic, for non-structural parts. This was a weight-saving innovation for its time. The shutter and lens were supplied by Wollensak in NY. The lens is a very good Tessar-copy. The final camera is a clear leader in the "most ugly camera ever" category.
I've got a Rapid M that I bought a long time ago for $100. Still have it but never use it. When I did use it, the images were very sharp.
Love this camera to bits! If anyone happens to know someone that can repair a Koni Omega and their lenses would be greatly appreciated!
@@spencerstone7696 I had mine repaired by Advance Camera Repair in Portland, Oregon.
I have a Rapid M that's been sitting in a box for over a decade. Maybe it's time to let it out for a ramble.
Yes definitely time to take it out for a little fun!
It is cheap only as long as you consider body+90mm. Once you try to aquire other lenses and some accessories, you are very fast out of budget.
@@MezeiEugen Yes very true! I have the 58mm lens and it cost me more than the camera and 90mm together.