I've seen my father drag his Mamiya RB67 around on vacations. After having that thing hanging around his neck for a couple of hours, he could barely stand up straight.

If you do strictly tripod-mounted studio work, and are considering medium format, then take a look at 6x7. But if there's ever the possibility you'll shoot handheld, opt for something a little more portable.

Versatility
Have you ever wished you could change films mid-roll with your 35mm? You can with medium format cameras. Have you ever wished you could see what the picture would look like before wasting your film? You can with medium format.

These features are pretty much moot if you're shooting digital as there's no film involved, and most digital cameras offer a preview screen. But wouldn't it be nice to be able to switch between color and black and white film mid-roll? Or between negative and transparency? Or to be able to change from one film speed to another? What about shooting 120, 35mm, and Polaroid all with one camera? You can do all of this with medium format.

Most medium format cameras have removable film backs, allowing you to pre-load them with different films and put them on the camera when needed. This is also how you can put a digital back on a traditional film camera, although digital backs for medium format cameras are extremely expensive, starting at around $6000. Figure D shows some of the many film backs available with medium format cameras.

FIGURE D

You can shoot 120/220, 35mm, Polaroid, and even digital with the same medium format camera. Click picture for a larger image.

Regardless of whether the camera is 645, 6x6, or 6x7, they all use the same 120 film. They can also take 220, which is twice as long as 120. With some medium format cameras you can get a 35mm back for panoramic shots. With a Polaroid back, you can get an instant proof of what your shot will look like to test the lighting and composition.

Medium format cameras that have leaf shutters are also able to synch the flash at all speeds. Most cameras will only synch the flash at either 1/60th or 1/125th, some at 1/250th. Not all medium format cameras have leaf shutters though. With some, it's an option that's available with alternative lenses.

So why would you want to synch the flash at higher speeds? It's necessary for things like fill-flash in bright sunlight and for freezing movement on specialty shots, like splashing water.

Conclusion
So who uses medium format? Professional photographers like Andrew Eccles, a freelance photographer that has worked with Robert Mapplethorpe and Annie Leibovitz, or Mark Seliger, chief photographer for Rolling Stone magazine, a position once held by Annie Leibovitz.

Do you have to be a professional to use medium format? No, certainly not. I'm no professional, but my photography has improved dramatically since moving up to medium format. Is it for the average photographer? No, not really. But if you're an advanced amateur that would like to go professional, consider trading up. Assignment editors and art directors for ad agencies and publications need the largest original image possible.

Stock photography is another income staple for professional photographers. Stock houses pay more for larger source images. Medium format is also the choice of most wedding, portrait and studio photographers and offers versatility that is unequalled in 35mm. If you're not sure whether or not medium format is for you, many companies will rent out equipment so you can try before you buy. Good luck and good shooting.

James Booth is a self-taught PC and Palm device user that dabbles in graphics and photography. He can be reached at lizardworks@mchsi.com.