I shot the Inland Sea series on a Mamiya RZ67. It was the last sustained film project before I switched to digital, and I have been looking at those negatives again lately — partly to scan some for a possible print edition, partly because I wanted to remember what the process felt like.
The obvious things: the weight, the deliberation forced by twelve frames per roll, the delay between shooting and seeing. These are well-documented, and I will not rehearse them. The less-obvious thing: the way the square and near-square formats change your relationship to the horizon line. With a 6x7 frame, the horizon becomes a structural element rather than a default. You have to decide where to put it, and the decision is harder to ignore.
Twelve frames per roll. The constraint is the point.
Some notes on returning to medium format film after three years of shooting exclusively digital. What changes. What stays the same. The grain is obvious but that is not the important thing. The important thing is the tonal compression in the highlights — film holds detail in bright skies in a way that digital still, even with careful processing, does not quite replicate.