Medium format occupies the sweet spot between 35mm convenience and large format quality. The larger negative captures more detail with finer grain, while cameras remain reasonably portable. It's where many film photographers settle when seeking better image quality without view camera complexity.
This guide covers medium format fundamentals—film, cameras, and getting started.
What Is Medium Format?
The Film
Medium format uses 120 film (or the now-rare 220 film). The film is 61mm wide and wound on a spool with paper backing.
120 vs 220:
| Format | Backing Paper | Frames (6×6) | Availability |
|---|---|---|---|
| 120 | Full backing | 12 | Common |
| 220 | Start/end only | 24 | Very rare now |
Most cameras today use only 120. The paper backing protects film from light and shows frame numbers through red windows on some cameras.
Frame Sizes
Different cameras use varying amounts of the 120 film width:
| Frame Size | Actual (mm) | Aspect Ratio | Frames per 120 |
|---|---|---|---|
| 6×4.5 | 56×42 | 4:3 | 15-16 |
| 6×6 | 56×56 | 1:1 | 12 |
| 6×7 | 56×70 | 5:4 | 10 |
| 6×8 | 56×76 | 4:3 | 9 |
| 6×9 | 56×84 | 2:3 | 8 |
| 6×12 | 56×112 | Panoramic | 6 |
| 6×17 | 56×168 | Panoramic | 4 |
The notation (6×6, 6×7, etc.) is nominal—actual dimensions vary slightly by camera.
6x4.5 is rectangular (like 35mm), 6x6 is square, 6x7 is slightly rectangular. Each affects composition differently—square requires different framing instincts than rectangular.
Comparison to 35mm
| Attribute | 35mm (24×36mm) | 6×6 (56×56mm) | 6×7 (56×70mm) |
|---|---|---|---|
| Negative area | 864 mm² | 3,136 mm² | 3,920 mm² |
| Area multiple | 1× | 3.6× | 4.5× |
| Grain (visual) | Visible at moderate enlargement | Very fine | Extremely fine |
| Depth of field | Standard | Shallower at same angle of view | Even shallower |
The practical advantage: You can make much larger prints before grain becomes objectionable. A 6×7 negative can produce gallery-sized prints with smooth tones.
Camera Types
SLR Systems (Single Lens Reflex)
Design: Mirror reflects lens image to viewfinder; mirror flips up during exposure.
Examples:
- Hasselblad 500 series
- Mamiya RB67, RZ67
- Bronica SQ, ETR, GS
- Pentax 67, 645
- Mamiya 645 series
Advantages:
- Through-the-lens viewing
- Interchangeable lenses
- Interchangeable backs (some)
- Accurate framing
Disadvantages:
- Heavy (especially 6×7 models)
- Mirror slap can cause vibration
- Loud shutter
- More complex
Best for: Studio, portraits, controlled shooting.
Rangefinder Systems
Design: Separate viewfinder with rangefinder focusing patch; no mirror.
Examples:
- Mamiya 6, Mamiya 7
- Fuji GW/GSW series
- Bronica RF645
- Plaubel Makina 67
Advantages:
- Lighter and more compact than SLRs
- Quiet shutter
- No mirror vibration
- Better for handheld
Disadvantages:
- Parallax (viewfinder offset from lens)
- No through-the-lens view
- Limited lens selection
- Can't verify focus directly
Best for: Travel, landscape, street photography.
TLR (Twin Lens Reflex)
Design: Two lenses stacked vertically—viewing lens above, taking lens below. Waist-level viewfinder shows inverted image.
Examples:
- Rolleiflex (various models)
- Yashica-Mat
- Mamiya C-series (interchangeable lenses)
- Minolta Autocord
Advantages:
- Compact for 6×6
- Quiet leaf shutter
- Waist-level viewing is distinctive
- Some models very affordable
Disadvantages:
- Fixed lens (most models)
- Parallax at close focus
- Reversed viewfinder image
- Square format only
Best for: Portraits, street photography, discreet shooting.
Folding Cameras
Design: Collapsible bellows allow compact storage; unfold to shoot.
Examples:
- Fuji GF670 (modern)
- Voigtländer Bessa (vintage)
- Zeiss Super Ikonta (vintage)
Advantages:
- Very portable when folded
- Good optics in compact package
- Unique aesthetic appeal
Disadvantages:
- Limited features
- No interchangeable lenses
- Rangefinder or scale focus typically
- Vintage models may need service
Best for: Travel, casual medium format.
Frame Size Considerations
6×4.5
Characteristics:
- Smallest medium format frame
- Most frames per roll (15-16)
- Portrait-oriented by default
- Some consider it "small" for medium format
Cameras: Mamiya 645, Bronica ETR, Pentax 645, Contax 645.
Best for: Volume shooting, event photography, those wanting more shots per roll.
6×6 Square
Characteristics:
- Classic medium format aspect ratio
- Compose for later cropping if desired
- 12 frames per roll
- Distinctive square aesthetic
Cameras: Hasselblad 500 series, Rolleiflex TLRs, Bronica SQ, Mamiya C-series.
Best for: Portraits, art photography, those who embrace the square.
6×7
Characteristics:
- Largest common medium format
- Aspect ratio similar to 8×10 (traditional print sizes)
- 10 frames per roll
- Cameras are large and heavy
Cameras: Mamiya RB67/RZ67, Pentax 67, Mamiya 7.
Best for: Landscapes, studio portraits, maximum quality.
Panoramic (6×9 and larger)
Characteristics:
- Wide aspect ratios
- Few frames per roll (6-8 or fewer)
- Striking compositional impact
Cameras: Fuji GW/GSW series (6×9), Fuji G617 (6×17), various others.
Best for: Landscapes, architecture, those seeking panoramic format.
If you're uncertain, 6×6 offers a good balance—classic aspect ratio, reasonable frame count, and cameras range from affordable TLRs to professional Hasselblads. You can always crop later.
Medium Format vs 35mm
Advantages of Medium Format
Image quality:
- Larger negative captures more information
- Finer grain appearance at same print size
- Smoother tonal gradations
- More detail for large prints
Depth of field control:
- Shallower depth of field at equivalent field of view
- Longer focal lengths for same coverage
- More separation between subject and background
The look:
- Distinctive rendering
- Subject-background transition
- Tonal quality difficult to replicate
Challenges
Cost:
- Cameras more expensive than 35mm
- Fewer frames per roll (higher per-shot cost)
- Processing costs same per roll but fewer images
- Lenses expensive for systems
Size and weight:
- Cameras significantly larger
- Lenses heavier
- Less spontaneous shooting
Speed:
- Slower to operate
- Fewer frames before reload
- More deliberate approach required
Learning curve:
- Different handling
- Waist-level finders reversed
- Different focusing methods
Getting Started
Entry Points by Budget
Budget (Under £300):
- Yashica-Mat TLRs (6×6)
- Mamiya 645 bodies (6×4.5)
- Bronica SQ-A systems (6×6)
- Fuji GA/GS folders (6×4.5)
Mid-Range (£300-800):
- Mamiya RB67 systems (6×7)
- Hasselblad 500C/M (6×6)
- Pentax 67 (6×7)
- Bronica GS-1 (6×7)
Premium (£800+):
- Hasselblad 503CW (6×6)
- Mamiya 7 (6×7 rangefinder)
- Mamiya RZ67 (6×7)
- Contax 645 (6×4.5)
Recommended First Medium Format Camera
If you're new to medium format, consider:
Budget option (£100-200): Yashica Mat 124G (TLR) — Fixed 80mm lens, reliable, teaches composition through waist-level finder.
Flexible option (£200-400): Mamiya 645 system — Interchangeable lenses, optional metering prism, affordable lenses.
Premium option (£400-800): Hasselblad 500 C/M — The classic, modular system, excellent lenses, but higher ongoing costs.
First Camera Recommendations
For landscape/travel:
- Mamiya 7 (if budget allows)
- Fuji GW690/GSW690 (more affordable 6×9)
- Bronica ETRS with 75mm (compact 6×4.5)
For portraits:
- Mamiya RB67 (excellent value, versatile)
- Hasselblad 500C/M (classic, modular)
- Pentax 645 (ergonomic, good system)
For learning/experimenting:
- Yashica-Mat 124G (affordable 6×6 TLR)
- Mamiya 645 1000s (good system starter)
- Bronica SQ-A (affordable Hasselblad alternative)
Essential Accessories
For any system:
- Light meter (if camera lacks one)
- Cable release
- Lens hood
- Extra film backs (if interchangeable)
For waist-level finders:
- Magnifying loupe attachment
- Possibly prism finder for eye-level viewing
First Roll Tips
Practice loading film before shooting—each system differs.
Verify film advance is working (watch exposure counter or feel spool tension).
Take your time—fewer frames means each one counts more.
Note exposure settings for learning.
Don't worry about the "perfect" shot—learn the camera first.
Film Loading
120 Film Loading
Medium format loading differs significantly from 35mm. For details on loading 120 film, see our Loading Film guide.
General process:
Open camera back (or remove film back).
Remove empty spool from takeup position.
Place fresh roll in supply position.
Thread paper leader across to takeup spool.
Advance until start mark aligns with indicator.
Close back and continue advancing to frame 1.
Camera-specific variations exist. Consult your camera's manual for exact procedure.
Common Loading Mistakes
Film not catching takeup spool:
- Leader slips free
- Full roll unexposed
- Verify tension before closing back
Paper backing torn:
- Can cause light leaks
- Handle paper gently
- Don't force if resistance felt
Improper alignment:
- Frames may overlap or have gaps
- Follow camera's alignment marks precisely
Scanning and Printing
Scanning Medium Format
Resolution needs:
- Larger negative requires proportionally less DPI
- 2400 DPI on 6×6 yields ~5000 pixel file
- 4000 DPI for maximum extraction
Scanner requirements:
- Must accommodate 120 film width
- Flatbed: Epson V550/V600/V850
- Dedicated: Plustek, Pacific Image
- Drum scanners for ultimate quality
Printing Advantages
The larger negative allows larger prints:
| Negative | "Good" Print Size | "Excellent" Print Size |
|---|---|---|
| 35mm | 8×10" | 5×7" |
| 6×6 | 16×16" | 11×11" |
| 6×7 | 20×16" | 14×11" |
These assume similar film, development, and scanning quality.
Summary
Medium format uses 120 film:
- Various frame sizes from 6×4.5 to 6×17
- Larger negatives = better quality and finer grain
Camera types:
- SLRs (modular, heavy, versatile)
- Rangefinders (compact, quiet, limited lenses)
- TLRs (affordable, distinctive, mostly 6×6)
- Folders (portable, vintage charm)
Advantages:
- Superior image quality
- Shallower depth of field
- Distinctive "medium format look"
Challenges:
- Higher cost per image
- Larger, heavier equipment
- Slower, more deliberate workflow
Entry points:
- Yashica-Mat TLR for budget 6×6
- Mamiya RB67 for affordable 6×7
- Hasselblad 500C/M for classic modular system
Medium format rewards patience. The slower pace and limited frame count encourage careful composition. The resulting images—with their smooth tones and fine detail—justify the extra effort.