You'll notice that it's a very odd rangefinder. The shutter button is a left-hand trigger on a detachable pistol grip. As with many medium format cameras, film is exposed via a leaf shutter built into the lens. The shutter may be triggered on the lens itself, or the pistol grip's remote wire can be screwed into the lens to activate the trigger. Film backs and ground glass backs may be hot-swapped by pulling or reinstalling the dark slide. There are two coldshoes, and flash sync is built into the lens with two modes for different types of flashes (not front vs rear curtain as often confused). Tilt and shift adjustments are built into the camera body; the film back is actually on a bellows with four lockable posts. Macro rings were sold as an accessory, but you can cheat a little and fully extend the bellows to get a shorter minimum focal distance without macro rings (and without rangefinding - you'll have to focus using ground glass to do this). There is no meter; you must use an external meter - I used a free app on my iPhone, amazingly with spot-on accuracy!
Framing is achieved by composition aids in the viewfinder, illuminated by sunlight shone in a diffuser panel and directed through a set of mirrors. A switch offers composition lines for 100mm, 150mm, and 250mm, although a 60mm wide-angle lens is also available. Rangefinding focus is found in a small, double image circle in the viewfinder center.
Before I shot with the camera, I gave every component a good cleaning, removing the years of dirt and grime that had collected from living in a box. Using the ground glass back and a film loupe (yup, they are for more than checking out negatives!), I calibrated the rangefinder for both the 100mm and 250mm lenses I have - luckily the problem was a rangefinding misalignment in the camera body, meaning I only had to fix it on the body for all lenses to calibrate, rather than adjust the rangefinder bar individually on each lens. If I hadn't done this calibration, every photo below would have been out of focus (but would have registered in focus in the viewfinder).
While calibrating the rangefinder, I also noticed that the lenses are somewhat unusual in that they do not allow focus past infinity - this is most common on pre-autofocus lenses, but makes me uncomfortable in the event that a lens comes out of calibration, and no longer has that extra leeway to focus at infinity even if the dial says you're past it. The advantage to this is that you don't have to worry about going past infinity if your lenses are properly calibrated, as these thankfully are (you just twist the dial until it stops at infinity, and don't even have to pay attention to focus in the viewfinder... assuming you want focus at infinity).
The Mamiya Press mount line of cameras only lasted 11 years, being discontinued in 1971, left in the dust by the 645 system introduced in 1975, which is still one of the most popular medium format systems in production to this very day.
An interesting camera to say the least.
Kodak Portra 400 (120)
This is what Portra SHOULD look like! Never before have I had my film come back so crisp and vibrant. Beautiful tones, outstanding range, and very little grain! Thank you Richard Photo Lab!
I shot my first two rolls on the Mamiya Super 23 with Portra 400 at box speed, with beautiful results! Unfortunately I missed Autumn's color peak in the Shenandoah Valley this year due to my travel to St. Louis, but I still went with friends on a frigid weekend; there was snow on the mountaintops. With the way the wind blows and sun shines, one side of the mountain valley still had color, and the other was barren; all the leaves had been removed by Mother Nature.
120 roll film in a 6x9 format only gets you 8 exposures per roll. I shot two rolls of Portra 400 atop the mountain; my last two frames as the sun had just dipped below the horizon.