5 frames with Shanghai GP3 100 in a Mamiya RB67

By Don Goodman-Wilson

When on vacation, one of my favorite activities is hitting the second hand markets for good deals on used camera gear. And, if you’ve never been, Namdaemun Market in Seoul does not disappoint. Home to several dozen used camera dealers ranging from large, well-appointed stores to tiny counters buried in the basement of packed market halls, the dealers in Namdaemun have nearly anything you could want at surprisingly reasonable prices.

Some streets are passable by automobile, and these are now the streets of commerce, packed to the gills with cafés and clothing boutiques.
Two hanbok-clad visitors on a stroll.

On this, my first trip to Seoul, I had a particular target: I was hunting for a Mamiya RB67. All told, I must have looked at dozens of them, in various states, all priced seemingly at random. In the end, I found a dealer who had two RB67 Pro SDs each with parts in better or worse states. (If you aren’t familiar, the RB67 breaks down into six or so modular parts: the lens, body, focusing screen, viewfinder, rotating back, and film back.) As part of the negotiation, I requested to build a camera using the best parts from both. I walked away with a complete camera in excellent condition at a price well under my budget.

In the midst of the historic village of Bukchon sits a Chanel store, whose sidewalk is constantly busy with sight-seers coming and going from the nearby palace.
Chanel and hanbok.

The more reputable (though not necessarily more expensive) dealers guarantee their ware: Once the deal was complete, I was told I could bring it back if there was any problem, and they’d resolve it for me. Which meant I needed to put a roll through the camera quickly. Unfortunately they didn’t sell film. I had to hunt quite a bit before I found another store that did. (The irony! Surrounded by gorgeous film cameras of every make and model…but not a lick of film!) I asked for a roll of their cheapest 120 film, and was handed something I’d never encountered before: Shanghai GP3 100. A quick internet search was not encouraging: It seems to be either rebranded Orwo (well, ok!) or some absolute dodgy shit. Frankly, I didn’t care: I needed a tool to establish that there were no obvious light leaks or problems with the shutter, so I bought a roll.

Though most of the village comprises more modest homes, some are clearly larger and nicer than their neighbors, especially towards the top of the hill where the views are best.
Stately Bukchon manor. Notice the shadow detail—none of it is pure black.

I immediately returned to our lodgings in Bukchon Hanok Village, an ancient and historical neighborhood near the old imperial palaces. And here, I lugged the massive and heavy RB67 all through this beautiful neighborhood, filled with beautifully dressed people, running the shutter through its paces.

This is a good point to interject something I only recently learned about Korea, but which you may already know: Koreans are enormously proud of their cultural heritage, and are very eager to share it. The preserved hanok villages are a big part of this, and I strongly recommend staying at a traditional house if you have the chance. Something that might surprise is that many of the cultural sites in central Seoul are free to visit if you are wearing traditional garb—the hanbok. There are hundreds of stores that will rent you hanboks for the day inexpensively. And the feeling of walking through ancient palaces surrounded by people wearing hanboks is frankly incredible. It really feels like you’ve stepped back in time. Though it may sound like a silly thing, if you ever visit Seoul, I really recommend renting a hanbok and touring the palaces. Anyway, this will explain the dress in the photographs attached to this story!

Predating automobiles by over five-hundred years, the pedestrian walkways of Bukchon would nowadays be classified as narrow alleys at best.
Bukchon alley. Notice the shadow detail.

Getting the film developed (and scanned) was the last piece of the puzzle. This turned out to be less of a problem than I’d expected. If you ever need film developed in Seoul, I cannot recommend Film 135/36 strongly enough. They were professional, courteous, reasonably priced, and turned the film around in about 48 hours. When I picked up the film, I had a chance to chat with the owner about the film itself. He had personally handled the scans, and was impressed by the quality of the images produced. As was I.

Although the grain is surprisingly pronounced for a 6×7 format image, the tonality, sharpness, and dynamic range are worth calling out. You’ll notice that, despite the sunny day producing high-contrast lighting, the shadows are never blocked up. All in all, I would happily shoot Shanghai GP3 100 again, although I have no idea where to get it in Europe.

Situated atop a tall hill in the middle of the city, Seoul Tower is visible from nearly everywhere. Here, it appears hazy and distant, its mass visually dwarfed by the roofing tiles in the very near foreground.
Seoul Tower as seen over the rooftops of Bukchon.

Anyway, as you can see, the camera checked out, and I had no need to return it for servicing.

What are the takeaways? Seoul is a great place to find deals on used film cameras—far better than Tokyo, though that’s a topic for a future article. Seoul is also a very film-friendly place, with sources for fresh film (though you do have to hunt) and development that won’t break the bank. And, finally, if you have the chance to purchase Shanghai GP3 100, do not hesitate—the cheap price and excellent dynamic range make it an easy buy.

Addendum

Here is an abbreviated list of retailers that might be helpful!

  • I bought my camera at 신태양시 (Sintaeyangsi). (Location)
  • The Shanghai GP3 100 is from 당근CAMERA (Carrot Camera) just down the street. (Location)
  • I got the film developmed at 135/36. (Location)
  • The owner of 135/36 pointed me to 세기P&C (Segi P&C), which has all the Ilford and Kodak film, good prices. (Location)

Thanks for reading! You can view my portfolio—or maybe even hire me!—by clicking on this delightful link. Or you can keep up to date with my daily photography by following me on Instagram.

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About The Author

By Don Goodman-Wilson
Although a full-time IT professional, I’ve been an avid photographer for over 25 years. I shoot street and travel, still-life fine art, and the occasional portrait. I got my start with the venerable Pentax MX, and quickly discovered my love for both rangefinders and flea markets when I picked up a used Contax II cheap at a yard sale. Nowadays I use vintage and modern lenses on my Fujifilm X-Pro3, and have started looking for ways to transform my hobby into a viable business.
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Comments

Murray Leshner on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 17/06/2023

Congrats on the RB-67. The bari sax conditioning routine as RB-67 training is great. I will share that with someone I know. I put one together thru a number of separate transactions, and inherited a second one later! Both need light seals...filmholder AND body...sticky goo, so that kind of diffused my enthusiasm and they are both in boxes awaiting re-motivation.
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Rob Stammers on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 16/06/2023

I really enjoyed reading this post. I'm curious as to why it is that countries like Korea, Hong Kong (and others) are blessed with loads of camera stores, yet here in the UK we virtually have nothing, my local used/new camera store has recently disappeared, I now rely heavily on Ebay. Anyway, another great read. Enjoy your RB647, I'm curious as to what you paid for. Cheers Regards Rob (UK).
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Lance Rowley on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 16/06/2023

Wonderful article and excellent photos! How was it logging around the RB everywhere? Haha Honestly you made exploring Namdaemun and Seoul pretty exciting. Are camera shopping vacations a thing? Because I think I need one!
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Don Goodman-Wilson replied:

Comment posted: 16/06/2023

Lance, thanks for the kind words. Honestly, it wasn't too bad—I was only out for about half an hour. And not only am I a very big guy, I used to play baritone sax in a marching band so I'm used to the weight around my neck! It's not for everyone, but I'm really curious to do more street photography with this camera. And it was really exciting, absolutely!

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Eric Charles Jones on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 16/06/2023

Hey Don, I lived in Korea for 6 years. I have found memories of window shopping among the camera shops in Namdaemun. Thanks for the pictures. They brought back memories of places and friends I need to see again. Cheers
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Don Goodman-Wilson replied:

Comment posted: 16/06/2023

Thank you for the kind words! I’m glad to bring back happy memories. And there is something special about Namdaemun I’ll not soon forget myself.

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Huss on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 15/06/2023

ooof, my experience with Shanghai film has been very different. Albeit in their 220 offering. The film is hand-rolled, and so delivered with fingerprints etched into the emulsion, and countless handling scratches and marks. I am trying to sell my last 12 rolls as I have given up on it. I'm advertising it as 'will show defects, great for that Lomo look!' so people will know what they are getting into. A shame, as I think the tones are really nice, and was excited that someone was actually making 220 film again. An example of the defects: https://www.flickr.com/gp/39133227@N08/7X75p562tB I shot several rolls, hoping this was a one off. But it wasn't.
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Don Goodman-Wilson replied:

Comment posted: 15/06/2023

Oh that really is unfortunate, I’m sorry to hear it. I too was excited about the return of 220. But thank you for sharing your experience!

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Arthur Gottschalk on 5 frames with Shanghai GP3 100 in a Mamiya RB67

Comment posted: 15/06/2023

Very interesting. What lens were you using, and what meter?
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Don Goodman-Wilson replied:

Comment posted: 15/06/2023

I can’t believe I left that detail off! Thanks for asking. I was using the 90mm Sekor K/L, and metering with the sunny 16 rule.

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