Originally debuting in 1965 as a prototype dubbed the Pentax 220. Since then and with improvements, it finally released in 1969 as the 6×7, as well as the Honeywell Pentax 6×7 for the North American import market. It would later receive a few changes and dubbed the Pentax 67. It was a system cameras for 120 and 220 film. It resembles a traditional with interchangeable and lens, but is considerably bigger and heavier, weighing 2.3 kilograms (5.1 lb) with plain prism and standard lens; perhaps inspired by the 1957 East German 6×6 KW Praktisix and its successor, the , although the horizontal SLR concept can be traced back to the 1933 Ihagee VP . The Pentax 6×7 has its own dual bayonet lens mount, and a wide range of interchangeable lenses exist. More than forty years after the original camera introduction a wide selection of lenses was still available, together with the latest Pentax 67II.
The Pentax 645 and 6X7 Medium format lens range includes some of the finest optics in the world. The best in the 645 range is the 35mm wide lens and the 50-100mm. However, the Pentax 6X7 and 67 lenses can easily fit the 645D with an adapter and so it is a useful option to own 67 lenses because they can easily fit the Pentax 67II, Pentax 645D and canon 5D Mark II. The professional range of Pentax 67 lenses is world renowned, and matched to the smaller sensor of the Canon 5D the frame is inside the 'sweet' central section of the glass.
With a camera which has only had one major model change in more than thirty years it’s easy to imagine that it’s an old-fashioned design. Far from it. In its latest incarnation the Pentax 67 II has virtually every technical feature that one could want, with the exception of autofocus.
Note that you need to perform this button legerdemain every time you change lenses. It’s a bit of a drag, but I find having the aperture setting displayed in the viewfinder to be worth the hassle. And frankly, I’m surprised that this function isn’t standard with every Pentax 67 II . It should be.