The Zenza Bronica ETRSi is the camera that changed the way I work. I found mine on eBay — a winning bid that arrived on the doorstep one November morning wrapped in bubble wrap and photographic history. What it unlocked was a slower, more deliberate way of seeing that no 35mm camera had ever quite demanded of me. This is an honest, personal review of the ETRSi built around real-world use across multiple rolls and locations — starting with its first outing on a dark, drizzly winter’s day at the Roman walls of Silchester.
| Camera at a Glance — Zenza Bronica ETRSi | |
|---|---|
| Camera | Zenza Bronica ETRSi |
| Film Format | 120 / 220 medium format |
| Negative Size | 6×4.5cm (15 frames per 120 roll) |
| Lens Mount | Bronica ETR mount |
| Lens Used | Zenzanon 75mm f/2.8 |
| Focusing | Manual focus |
| Shutter Speed Range | 8s to 1/500s + Bulb |
| Mirror Lock-Up | Yes |
| Multiple Exposures | Yes |
| Flash Sync | X-sync at all shutter speeds |
| Battery | 6V Silver Oxide (4LR44 or 4SR44) |
| Weight | 1,100g body only |
| First Outing | Silchester Roman Walls, Hampshire |
What Is the Zenza Bronica ETRSi?
The Bronica ETRSi is a medium format SLR produced by the Japanese manufacturer Zenza Bronica, part of the ETR series that ran from the late 1970s through to the early 2000s. The ETRSi is the most refined iteration of that series — an upgrade on the ETRS that added improved exposure modes, a redesigned grip, and a more comprehensive system of accessories. It produces 6×4.5cm negatives on 120 or 220 roll film, giving fifteen frames per 120 roll at a negative size roughly 2.7 times larger than 35mm.
The camera is built around a modular system. The film back detaches and can be swapped mid-roll — allowing you to switch between film stocks, between 120 and 220, or between black and white and colour without wasting a frame. The viewfinder is interchangeable too: the standard waist-level finder can be replaced with the EA II metered prism for eye-level shooting with built-in metering. Lenses from the full ETR system mount and work correctly. It is a genuinely professional system in a body that can be found for a fraction of its original cost on the second-hand market.
For a full overview of the lenses available for the ETR system, see my guide to Zenza Bronica ETR lenses. For notes on a cable release issue that affects long exposure work on this camera, see my post on the Bronica cable release fix. And if you’ve experienced a light leak on your ETRSi, my post on Bronica ETRSi light leaks covers the most common causes and solutions.
Fifteen frames per roll. Each one costs something — in film, in time, in attention. The ETRSi doesn’t let you be careless, and after a while you stop wanting to be.
Build Quality and Handling
The ETRSi is a substantial camera. At 1,100g for the body alone — before lens, film back, and viewfinder — it carries a physical presence that 35mm cameras simply don’t have. This is not a camera you carry casually. It asks to be carried deliberately, with a strap that distributes the weight properly and a bag that gives it the space it deserves.
In the hand, that weight becomes reassuring rather than burdensome. The controls are laid out logically — aperture on the lens ring, shutter speed on the top plate, film advance lever on the right. Everything clicks and winds with the satisfying mechanical certainty of something built to last. There is no autofocus, no program mode, no scene selection. You set the aperture, set the shutter speed, focus manually, and fire. That simplicity, once you have internalised it, becomes one of the camera’s greatest pleasures.
The waist-level finder changes everything about how you compose. You look down into the ground glass rather than through a viewfinder pressed to your eye. The image is reversed left to right, which disorients you briefly and then — once you adapt — makes you think about composition differently. You are more considered. You take longer. You notice things you would otherwise miss. For landscape and architectural work, it is close to ideal.
The Zenzanon 75mm f/2.8 Lens
The standard lens for the ETRSi system is the Zenzanon-E 75mm f/2.8, which on a 6×4.5 negative gives an angle of view roughly equivalent to a 45mm lens on 35mm — a natural, slightly wide perspective that suits both landscape and documentary work. It is a very good lens: sharp across the frame at most apertures, well-controlled for distortion, and capable of a pleasing rendering of out-of-focus areas when shot at wider apertures.
Manual focus on the ETRSi requires some care at wider apertures — the depth of field at f/2.8 on medium format is genuinely shallow, and the focus ring demands a deliberate touch. Stopped down to f/8 or f/11, as I typically shoot for landscape work, it becomes less critical and the lens delivers consistently excellent results. For a full guide to the range of lenses available for the ETR system, see my Bronica ETR lenses guide.
First Outing — Silchester Roman Walls, Hampshire
The first roll went into the camera on a dark, drizzly November day at Silchester — the Roman town of Calleva Atrebatum, whose walls still stand in near-complete circuit around open Hampshire farmland. It was not the most forgiving introduction. Wind, low light, and the particular cold of a late autumn afternoon conspired to make every technical decision harder than it might have been on a clear summer’s day. The camera, for its part, was entirely unbothered.
Silchester has a quality that suits medium format instinctively. The place moves slowly. The walls do not demand urgency. The 12th-century Church of St Mary, standing alone inside the old Roman perimeter, accessible only across open fields, asks to be approached at walking pace and photographed with care. Fifteen frames per roll concentrates the mind in exactly the right way — you don’t fire off a bracket of five exposures hoping one works. You look, consider, and commit.
The results from that first roll were enough to confirm that the camera was worth every penny of the eBay price. The negatives were clean, detailed, and possessed of a tonal depth that surprised me even having read extensively about medium format before buying. The 6×4.5 negative is not dramatically larger than 35mm in physical terms, but the difference in what it holds is immediately apparent when you scan it — particularly in the midtones and shadow detail that 35mm tends to compress.
The Learning Curve — What to Expect
The transition from 35mm to medium format is not difficult, but it is real. A few things caught me out in the early sessions and are worth flagging for anyone considering making the same move.
Loading 120 film is a different process to 35mm — the film feeds onto a take-up spool without a leader, and the backing paper needs to thread correctly before you advance to frame one. It takes a couple of attempts to feel natural, and watching a short YouTube tutorial before your first roll is not an embarrassing admission but a sensible precaution.
Manual focus at wider apertures demands more precision than 35mm equivalents. The depth of field at f/2.8 on a 6×4.5 negative is genuinely narrow, and the ground glass in the waist-level finder, while clear, requires good eyesight or a loupe for critical focus in poor light. I tend to stop down to f/8 or beyond for most of my landscape work, which removes most of the pressure.
The waist-level viewfinder takes genuine getting used to. The left-right reversal is disorienting for longer than you expect, and composing moving subjects through it requires a different set of instincts than eye-level shooting. For static landscape work it becomes a genuine pleasure. For anything requiring rapid response, the metered prism finder is worth considering.
Finally — fifteen frames. Coming from 36-exposure 35mm rolls, fifteen feels limiting. In practice it is liberating. You slow down, consider more carefully, and waste far fewer frames. The discipline the ETRSi imposes is one of its greatest gifts. For more on the broader world of medium format film cameras, see my guide to medium format film cameras and my introduction to medium format photography.
Coming from 36-exposure 35mm rolls, fifteen frames feels limiting. In practice it is liberating. You slow down, consider more carefully, and waste far fewer frames. The discipline is one of the ETRSi’s greatest gifts.
Which Films Work Best in the Bronica ETRSi?
| Film | Why It Works Well in the ETRSi |
|---|---|
| Ilford HP5 Plus 400 | The most versatile starting point — handles variable light, pushes well, and rewards the ETRSi’s tonal range beautifully. See my HP5 Plus review. |
| Ilford FP4 Plus 125 | For landscape work in good light — fine grain, outstanding tonal range, and a natural fit for the deliberate pace the ETRSi encourages. See my FP4 Plus review. |
| Ilford Pan F Plus 50 | The finest-grained Ilford emulsion — extraordinary on medium format in good light. Demands careful metering and a tripod. See my Pan F Plus 50 review. |
| Rollei Ortho 25 | An orthochromatic specialist film that renders ancient landscapes with extraordinary precision. Available in 120. See my Rollei Ortho 25 review. |
| Fomapan 100 / 200 / 400 | Affordable and characterful — a softer, more vintage tonal rendering that suits the ETRSi’s classic aesthetic. See my Fomapan review. |
| Lomography Lady Grey 400 | A distinctive ISO 400 emulsion with a cool tonality well suited to street and documentary work. See my Lady Grey review. |
What Works Well
- 6×4.5 negative delivers outstanding tonal depth and detail
- Modular system — interchangeable backs, finders, and lenses
- Mirror lock-up invaluable for long exposure landscape work
- X-sync flash at all shutter speeds — versatile for studio work
- Excellent Zenzanon lens range — sharp, well-corrected, affordable
- Waist-level finder encourages a more contemplative approach
- Excellent value on the second-hand market
- 15 frames per roll — the discipline improves your photography
Worth Knowing
- 1,100g body weight — not a lightweight travel camera
- Manual focus demands care at wider apertures
- Waist-level finder reverses left-right — takes adjustment
- 120 film loading takes practice to become second nature
- No built-in metering — external meter or metered prism needed
- Cable release can develop faults — check before long exposure sessions
Is the Zenza Bronica ETRSi reliable?
Generally yes — the ETRSi has a solid reputation for mechanical reliability when well maintained. It is an older camera and second-hand examples vary in condition, so buying from a reputable seller with a returns policy is strongly advisable. The most common issues are with the cable release port and light seals in the film back, both of which are fixable. See my post on Bronica cable release issues and ETRSi light leaks for practical guidance on both.
What is the difference between the Bronica ETRS and ETRSi?
The ETRSi is the refined successor to the ETRS, offering improved exposure modes, a redesigned grip for better ergonomics, and a more comprehensive accessory system. Both cameras use the same ETR-mount lenses and film backs, so upgrading from one to the other doesn’t require new glass. The ETRSi is generally the preferred choice for its improved handling and wider compatibility with later accessories.
What film does the Zenza Bronica ETRSi use?
The ETRSi uses 120 and 220 medium format roll film, producing 6×4.5cm negatives — fifteen frames per 120 roll. It is not natively compatible with 35mm film, though a dedicated 35mm film back is available separately. Most 120 black and white and colour films are suitable, including the full Ilford range, Kodak Portra and Ektar, and specialist stocks like Rollei Ortho 25 and Fomapan.
Are Bronica ETR lenses good?
Yes — the Zenzanon ETR lens range is well regarded for sharpness, controlled distortion, and a pleasing rendering that suits both landscape and studio work. The 75mm f/2.8 standard lens is an excellent all-rounder. For a full breakdown of the ETR lens range and which focal lengths suit which subjects, see my guide to Zenza Bronica ETR lenses.
How does the Bronica ETRSi compare to other medium format cameras?
The ETRSi sits in the more affordable end of the medium format SLR market, alongside cameras like the Mamiya 645 and the Pentax 645. It produces a 6×4.5 negative rather than the larger 6×6 of a Hasselblad or the 6×7 of a Mamiya RB67 — which makes it more compact and practical for field use while still delivering a significant step up from 35mm. For a broader overview of the medium format options available, see my guide to medium format film cameras.
Where can I buy a Zenza Bronica ETRSi?
The second-hand market is the only realistic option — the ETRSi is long out of production. eBay, MPB, and specialist camera dealers are the most reliable sources. Prices vary considerably depending on condition and what’s included, but a body with the standard 75mm lens and one film back can typically be found for a reasonable outlay. Always check that the shutter fires at all speeds, the film advance works correctly, and the film backs are light-tight before committing to a purchase.
Is medium format film photography worth it?
For landscape, architectural, and deliberate studio work — yes, emphatically. The larger negative delivers tonal depth, shadow detail, and a quality of rendering that 35mm genuinely cannot match. The discipline of fifteen frames per roll improves your photography in ways that are difficult to achieve any other way. The learning curve is real but short. For a broader introduction to the format, see my guides to medium format photography and the film photography guide.
This article is part of my Photography Kit Reviews hub. For more camera and lens reviews, see my guides to the Canon AE-1 Program, Canon EOS 300V, and medium format film cameras. For film reviews to pair with this camera, visit my Film Photography hub.
Flash: x sync at all shutter speeds including 1/500 not just 1/60 as stated.
Hi Darren — you’re absolutely right, and thank you for the correction! I had mistakenly carried over the typical 1/60s X-sync figure you’d associate with a focal-plane shutter camera like my Canon AE-1. The ETRSi uses a between-the-lens leaf shutter, which means it syncs with electronic flash at all shutter speeds right up to 1/500s. I’ve updated the specifications table to reflect this. Really appreciate you taking the time to flag it — it’s exactly this kind of community knowledge-sharing that keeps the information useful for everyone!