ARAX CM MLU (2009–?)

It clicks like a tank hatch sealing — heavy, deliberate, and somehow reassuring, like you’re about to do serious work.

Overview

The ARAX CM MLU isn’t subtle. It lands in your hands like a repurposed aircraft component — dense, metallic, and built with a kind of stubborn persistence that feels increasingly rare. This is a modular 6x6 medium format SLR, born from the bones of the Soviet-era Kiev 88, which itself was a reverse-engineered cousin of the legendary Hasselblad 1600F/1000F. But the ARAX CM isn’t just a clone; it’s a recalibrated, reassembled, and slightly more civilized version of that rugged lineage, produced after ARAX acquired the Arsenal plant in Kyiv back in 2009.

Owners report it feels more refined than the notoriously finicky original Kiev 88s — smoother film advance, better shutter clockwork, and a general sense of things actually aligning when you close the back. It’s not a Hasselblad, and it doesn’t pretend to be. The finish is utilitarian, the ergonomics are an afterthought, and yes, it’s heavy at 1220g. But for what it is — a new(ish), repairable, modular medium format system at a fraction of the cost — it punches way above its weight. You don’t pick up an ARAX CM for convenience. You pick it up because you want control: interchangeable film backs, viewfinders, lenses, and that crucial mirror lock-up for eliminating vibration in long exposures. It’s a system camera for people who don’t mind earning their results.

And make no mistake — this camera demands attention. There’s a reason one user called it “awesome” but added, “you really must handle it with care and attention.” It’s not fragile, exactly, but it’s unforgiving of sloppy handling. Get the sequence wrong, and you can damage the shutter. Push a lever that shouldn’t be pushed, and you might find yourself with a light leak or a jammed film advance. But get it right, and you’re rewarded with a shooting experience that’s tactile, deliberate, and deeply satisfying. It’s like driving a manual transmission truck with no power steering — exhausting at first, but profoundly connected.

Specifications

Manufacturer	ARAX
Format	6x6 medium format (120 film)
Shots per roll	12
Lens mount	Pentacon Six bayonet mount (Pentacon 6)
Shutter type	Cloth focal plane shutter
Shutter speeds	1/2s – 1/1000s + Bulb
Size	130 x 125 x 110mm
Weight	1220g
Body material	Metal
Body color option	Available in black (chrome also implied by user reports)

Key Features

Mirror Lock-Up (MLU)

One of the standout upgrades ARAX brought to the table is mirror lock-up — a feature absent on many Kiev 88 variants. This isn’t just a nice-to-have; it’s essential for critical work, especially with longer lenses or slow shutter speeds where mirror slap can blur the image. Engaging MLU requires a deliberate two-step process: cock the shutter, flip the lever, then trip the shutter. It slows you down, sure, but that’s part of the point. This camera rewards patience, and MLU is one of the ways it helps you get sharper results without resorting to mirror lock-up tricks or external dampeners.

Interchangeable Film Backs

Like its Hasselblad ancestors, the ARAX CM supports interchangeable film backs — a feature that sounds niche until you’re in the field and realize you can switch from color to black-and-white mid-roll. Or from 120 to 220 if you can find it (though 220 backs are rarer). The backs click on with a solid, mechanical certainty, and when properly seated, they’re reliable. But owners note that light leaks can occur, especially with older or poorly maintained backs — and sometimes even with standard lenses if the seal isn’t perfect. It’s not a flaw unique to ARAX, but it’s something to check before trusting a back with a precious roll.

Interchangeable Viewfinders

You can run the ARAX CM with a waist-level finder for that classic medium format composing experience, or swap in a prism for eye-level shooting. The waist-level finder is bright and sharp, though focusing in low light can be a challenge without a magnifier. The prism — if you can find one in good condition — offers a more conventional shooting stance, but it adds bulk and shifts the balance rearward. Either way, the view is 6x6, square, and wonderfully immersive. There’s no metering, of course — you’re on your own with a handheld or smartphone app. That’s not a limitation; it’s part of the ritual.

Modular System & Build

The entire camera is designed around modularity. Lenses, backs, viewfinders, even focusing screens — all swappable. The body uses a deep breech-lock lens mount, which keeps the lens secure but can cause issues with certain accessories, like Pentacon bellows, unless you use an extension. The metal body feels industrial, almost like it was forged rather than assembled. It’s available in black, and some user reports suggest chrome versions exist, though they’re less common. The ARAX rebuild process specifically targets known failure points from the original Salyut/Kiev bodies — things like weak film advance cranks and inconsistent shutter timing — so while it’s not flawless, it’s demonstrably more reliable than its ancestors.

Historical Context

The ARAX CM exists because the original Kiev 88 did — a Soviet-era attempt to clone the Hasselblad 1600F/1000F, built at the Arsenal factory in Kyiv. Over the decades, the Kiev 88 earned a reputation for being powerful but temperamental, with inconsistent build quality and a tendency for parts to fail. In 2009, the ARAX company acquired the Arsenal plant and began producing their own updated version: the ARAX CM. This wasn’t just a rebrand — it was a recalibration, with improvements like the Pentacon Six bayonet mount (replacing older threaded versions) and better shutter mechanics. The original Kiev 88 had evolved into the 88CM, which already changed the lens mount; ARAX took that further, offering a version that’s new, warrantied, and supported. It competes not with modern digital systems, but with used Bronica 645 ETR(S)(i) models and other modular film cameras that offer flexibility without the Hasselblad price tag.

Collectibility & Value

The ARAX CM occupies a strange space: it’s a new camera made from old designs, sold in limited numbers, and still available through ARAX with repair support. That makes it both collectible and usable — a rare combo. Market prices vary widely: a reseller listed one at €179 in February 2024, while another asked €325 in January 2023. A user reported paying around $600 for a standard kit back in 2011, suggesting prices may have softened or that earlier models carried a premium.

But ownership comes with caveats. The most critical rule: the shutter must be fully cocked before changing speeds or removing the lens. Do it wrong, and you risk damaging the shutter — one user admitted breaking theirs through “foolish operator error” and had to send it back to ARAX for repair. Other common issues include a fragile film advance crank, light leaks on some standard lenses (like the Volna-3), and compatibility problems with the depth-of-field preview lever on certain Carl Zeiss Jena lenses, such as the Flektogon 50mm MC and Biometar 80mm MC.

Still, the fact that ARAX still provides repair and service is a huge plus. Unlike orphaned Soviet cameras, the CM can be maintained. And because they’re technically “new” — assembled to order — they come with a warranty, which is almost unheard of in this world. That doesn’t mean every unit is perfect; some users report receiving cameras with rough operation or wrong finishes. But the option to send it back and get it fixed? That’s peace of mind you don’t get with a Kiev from the 1970s.