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54-526: The Mamiya C330 Professional is a traditional film twin-lens reflex camera introduced in the 1970s for the professional and advanced amateur photography markets. This model was 340 grams lighter than the previous model C33, which weighed 2040 grams (with 80 mm lens). The later C330f is an improvement on the C330 and was succeeded by the C330S with further improvements. The Mamiya C-series cameras are one of

108-525: A 6X4.5 frame SLR camera with interchangeable lenses and film backs, auto focus and an integrated prism visor that would be the base platform for the Mamiya 645AFD film and digital back cameras. Mamiya introduced the Mamiya ZD, which was a compact medium-format camera, in 2004. Rather than taking the form of a digital back solution, it was all built into one unit, much like a 35mm camera. This camera utilized

162-429: A zoom lens . In systems with interchangeable lenses, such as the Mamiya, the fixed distance between the lenses sets a hard limit on their size, which precludes the possibility of large aperture long-focus lenses. The lenses are also more expensive because the shutter mechanism is integrated with the lens, not the camera body, so each lens pair must include a shutter. Because the photographer views through one lens but takes

216-549: A 35mm camera you need half the focal length of a 6×7 lens. There is a similar effect on the depth of field of a particular aperture, so a 90mm f /3.5 lens on the RB67 is equivalent to using a 45mm f /1.8 on 35mm full frame. In 1975 Mamiya started to offer the M645 , the first SLR medium format camera to use the 645 format exclusively. The 645 format was introduced originally in the 1930s. The Mamiya 645 cameras could take 15 shots on

270-732: A 645DF camera body and 33MP digital back, the Mamiya DM28 System, consisting of a 645 AF III camera body and 28MP digital back, and the Mamiya DM22 System, consisting of a 645 AF III camera body and 22MP digital back. A new logo and webpage were also launched. In the United States, the trademark for "Mamiya" was not owned by the original company in Japan but rather by a wholly separate entity called Mamiya America Corporation ("M.A.C."). As such, all products that bear

324-519: A continuous image on the finder screen. The view does not black out during exposure. Since a mirror does not need to be moved out of the way, the picture can be taken much closer to the time the shutter is actuated by the photographer, reducing so-called shutter lag . This trait, and the continuous viewing, made TLRs the preferred camera style for dance photography. The separate viewing lens is also very advantageous for long-exposure photographs. During exposure, an SLR's mirror must be retracted, blacking out

378-409: A dedicated flash and an EF-series lens) focus-priority flash exposure). In these models the aperture ring had no direct connection to the diaphragm , allowing the camera body to override the set aperture, and the lenses could communicate a considerable amount of information to the camera body via electrical contacts on the mount. The Mamiya ZM, introduced in 1982, was essentially an advanced version of

432-456: A few 35 mm TLRs were made, the very expensive Contaflex TLR being the most elaborate, with interchangeable lenses and removable backs. The LOMO Lubitel 166+, a natively medium format camera, comes with an adapter for 35 mm film. As do most Rolleiflex models with their respective Rolleikin 35mm adapter. Furthermore the Yashica 635 was made specifically for use with 120 and 135 film and

486-552: A large, heavy, medium-format camera with built-in closeup bellows was innovative and successful. Previous medium-format professional SLR cameras used the square 6×6 cm format which did not require the camera to be rotated for photographs in portrait orientation, problematical with large and heavy cameras when tripod-mounted. Like the Linhof Technika the RB67 had a rotating back which enabled photographs to be taken in either landscape or portrait orientation without rotating

540-536: A neck strap and the shutter fired by cable release . Owing to the availability of medium-format cameras and the ease of image composition, the TLR was for many years also preferred by many portrait studios for static poses. Extreme dark photographic filters like the opaque Wratten 87 can be used without problems, as they cover and thus darken only the taking lens. The image in the viewfinder stays bright. Few TLR cameras offered interchangeable lenses and none were made with

594-400: A pop-up magnifying glass to assist the user in focusing the camera. In addition, many have a "sports finder" consisting of a square hole punched in the back of the pop-up hood, and a knock-out in the front. Photographers can sight through these instead of using the matte screen. This is especially useful in tracking moving subjects such as animals or race cars, since the image on the matte screen

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648-454: A quick-action finder for sports and action photography. Late model Rollei Rolleiflex TLRs introduced the widely copied additional feature of a second-mirror "sports finder". When the hinged front hood knock-out is moved to the sports finder position a secondary mirror swings down over the view screen to reflect the image to a secondary magnifier on the back of the hood, just below the direct view cutout. This permits precise focusing while using

702-457: A standard 120 roll film. The RB67 was followed by the more advanced RZ67 6x7cm frame format camera in 1982. These cameras established Mamiya as a major medium-format professional camera manufacturer, together with Hasselblad , Rollei , Bronica and Pentax . In 1989, Mamiya introduced the Mamiya 6 (6x6cm) rangefinder camera. In 1995, this was followed by the Mamiya 7 (6x7cm). The Mamiya 6

756-401: A streamlined product development and establishment of a more efficient customer sales and support base. In 2015 Phase One purchased Mamiya and began using Mamiya's Saku factory as the new Japan headquarters. Mamiya started manufacturing 135 film cameras in 1949, with point-and-shoot compact cameras being introduced later. The excellent Mamiya-35 series of rangefinder cameras was followed by

810-538: A variety of industrial and electronics products. It also makes golf clubs, golf club shafts and grips, and golf balls through its subsidiaries Kasco and USTMamiya. In 2009, Phase One , a medium format digital camera back manufacturer from Denmark, purchased a major stake in Mamiya. In 2012, Phase One combined Mamiya and another subsidiary, Leaf Imaging , created a new, worldwide Mamiya Leaf brand to integrate both companies’ product lines into one complete medium-format digital camera system offering. The re-branding offers

864-758: A workforce of over 200 people. The company was founded in May 1940 by camera designer Seiichi Mamiya ( 間宮精一 ) and financial backer Tsunejiro Sugawara. Mamiya originally achieved fame for its professional medium-format rangefinder film cameras such as the Mamiya Six (1940) and the Mamiya Press (1962) series. It later developed medium-format industry workhorse single lens reflex cameras : RB67 (1970), RZ67 (1982), and 645 (1975); and twin-lens reflex C series, all of which were used by advanced amateur and professional photographers. Many Mamiya models over

918-400: Is a so-called " crop factor " of 0.5×. That means the standard 35mm frame (36×24 mm) dimension, across the diagonal, is approximately half the corresponding diagonal dimension on the 67 (56×67 mm; note the aspect ratio is different. The total area of the 35mm frame is 1 ⁄ 4 of the 6×7 frame. This affects the focal length of lenses so that to get an equivalent field of view on

972-476: Is generally not possible to preview depth of field , as one can with most SLRs, since the TLR's viewing lens usually has no diaphragm. Exceptions to this are the Rolleiflex, the Mamiya 105 D and 105 DS lenses, which have a depth-of-field preview. As the viewfinder of a TLR camera requires the photographer to look down toward the camera, it is inconvenient to frame a photo with a subject that requires

1026-767: Is reversed left-to-right. It is nearly impossible to accurately judge composition with such an arrangement, however. Mamiya 's C-Series, introduced in the 1960s, the C-3, C-2, C-33, C-22 and the Mamiya C330 and Mamiya C220 along with their predecessor the Mamiyaflex, are the main conventional TLR cameras to feature truly interchangeable lenses. "Bayonet-mount" TLRs, notably Rolleis & Yashicas, had both wide-angle and tele supplementary front add-ons, with Rollei's Zeiss Mutars being expensive but fairly sharp. Rollei also made separate TLRs having fixed wide-angle or tele lenses:

1080-590: Is said that Reinhold Heidecke had the inspiration for the Rollei TLRs while undertaking photography of enemy lines from the German trenches in 1916, when a periscopic approach to focusing and taking photos radically reduced the risk to the photographer from sniper fire. TLRs are still manufactured in Germany by DHW Fototechnik, the successor of Franke & Heidecke , in three versions. Higher-end TLRs may have

1134-546: The Omega Rapid series of medium format press cameras. Mamiya has entered other business markets over time by purchasing other companies. Until 2000, it made fishing equipment such as fishing rods and fishing reels . In 2006, the Mamiya Op Co., Ltd., Inc. transferred the camera and optical business to Mamiya Digital Imaging Co., Ltd. The original company, doing business as Mamiya-OP, continues to exist and makes

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1188-681: The 50s. Gemflex resembles the well known Rolleiflex 6×6 twin lens reflex, but much smaller in size. The body of Gemflex is die cast from shatter proof metal. The smallest photography TLR camera using 35 mm film is the Swiss-made Tessina , using perforated 35 mm film reloaded into special Tessina cassette, forming images of 14 mm × 21 mm . Goerz Minicord twin lens reflex made 10 mm × 10 mm format on double perforated 16 mm film in metal cassette. 6 Element Goerz Helgor F2 lens, metal focal plane shutter B, 10, 25, 50, 100, and 400. Viewing lens uses pentaprism reflex optics for

1242-496: The Mamiya 645AF lenses and had a resolution of 22mp. The solution had technical difficulties and became delayed. At the same time, Mamiya also announced a ZD back which had the same specification but was intended to be used with the Mamiya 645AFDII / AFDIII. The ZD back was even more delayed and, once it was introduced, it was already outdated. In 2009, the Mamiya M Series digital backs were released (M18, M22 and M31) all featuring high pixel counts with large CCDs and compatibility with

1296-456: The Mamiya 645AFD range and RZ/ RB series (via specially manufactured adapters). All the backs are compatible with 4x5 inch view cameras. In the final quarter of 2009, Mamiya released its Mamiya 645DF camera, the latest and digital-only version of the famed 6x4.5 format AF camera series. The Mamiya 645DF has many improved features including mirror-up delay, lack of shutter lag, AF preference with priority on speed or precision, and compatibility with

1350-693: The Mamiya Prismat SLR in 1961 and the Mamiya TL/DTL in the mid-to-late 1960s. The SX, XTL and NC1000 were other 135 film SLR camera models introduced by Mamiya. One of Mamiya's last 135 film SLR designs was the Z-series. The original entry-level ZE model was an aperture-priority -only SLR; the ZE-2 added manual exposure; the ZE-X added shutter priority and full program automated mode, and (with

1404-920: The Rolleiflex TLR as well. The Ciro-flex, produced by Ciro Cameras Inc., rose dramatically in popularity due in large part to the inability to obtain the German Rollei TLRs during World War II. The Ciro-flex was widely accessible, inexpensive, and produced high quality images. Models with the Mamiya , Minolta and Yashica brands are common on the used-camera market, and many other companies made TLRs that are now classics. The Mamiya C series TLRs had interchangeable lenses, allowing focal lengths from 55 mm (wide angle) to 250 mm (telephoto) to be used. The bellows focusing of these models also allowed extreme closeups to be taken, something difficult or impossible with most TLRs. The simple, sturdy construction of many TLRs means they have tended to endure

1458-508: The Rolleiflex and the Mamiya C220/C330, the waist-level finder can be replaced by an eye-level finder, using a roof pentaprism or pentamirror to correct the image while making it viewable through an eyepiece at the rear of the camera. The design of the leaf shutter limits almost all TLRs to a maximum shutter speed between 1/100th and 1/500th of a second. Certain photographic filters are inconvenient without line of sight through

1512-525: The Tele Rollei and the Rollei Wide, in relatively limited quantities; higher sharpness, more convenient (faster than changing lenses) if one could carry multiple cameras around one's neck, but much more costly than using 1 camera with supplements. The Mamiya TLRs also employ bellows focusing, making extreme closeups possible. Many TLRs used front and back cut-outs in the hinged top hood to provide

1566-474: The ZE-2, with some of the features of the ZE-X. It was the last Mamiya 135 film camera produced. It had an aperture-priority automatic time control, based on center-weighted TTL readings, an automatic shutter-speed range from 4 seconds to 1/1000, and a manual range from 2 seconds to 1/1000. Visual and audio signals indicated over- or under-exposure, pending battery failure, or excessive camera shake. Metering modes, shutter release, self-timer, manual time settings and

1620-490: The actual frame size is slightly different from the nominal dimensions: Mamiya made a series of square format (6×6) twin lens reflex (TLR) cameras throughout the middle of the twentieth century. These were developed into the C cameras (C2, C3 through to C330s) which have interchangeable lenses as well as bellows focus. In 1970, Mamiya introduced the RB67 , a 6×7 cm (nominal) professional single lens reflex (SLR). The RB67,

1674-510: The camera and closing the objective aperture the ground glass screen was swapped for the photographic plate, and finally the picture could be taken. (Some cameras used this layout as late as the 1960s, for example the Koni-Omegaflex. ) With the addition of a second lens and a permanent piece of ground glass, this made it possible for a photographer to snap a picture immediately after focusing the image instead of having to remove and replace

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1728-503: The camera to be held much more steadily against the body than a camera held with the hands only. The London Stereoscopic Co's "Carlton" model, dating from 1885, is claimed to be the first off-the-shelf TLR camera. A major step forward to mass marketing of the TLR came with the Rolleiflex in 1929, developed by Franke & Heidecke in Germany. The Rolleiflex was widely imitated and most mass-market TLR cameras owe much to its design. It

1782-441: The camera to be positioned above the photographer's chest unless a tripod is used. In these cases, the camera may be positioned with the lenses oriented horizontally. Due to the TLR's square format, the composition need not be altered. The image in the waist-level finder is reversed "left to right", which can make framing a photograph difficult, especially for an inexperienced user or with a moving subject. With high-quality TLRs like

1836-419: The camera, at the expense of additional weight and bulk. The RB67 soon became widely used by professional studio photographers. The 6×7 frame had been introduced and patented by Linhof (56 × 72mm) and was described as being ideal, as the negatives required very little cropping to fit on standard 10" × 8" paper. Mamiya actually used a frame size of 56 × 67mm. When comparing the RB67 to full frame 135 cameras there

1890-513: The ergonomics of the camera body were also improved. In 1984 Osawa, one of Mamiya's major distributors, filed for the Japanese equivalent of bankruptcy and, soon after, Mamiya discontinued 135-film camera production to focus on the medium-format professional market. Common medium format frame sizes on 120 film include 645, 6×6, and 6×7, named for the nominal frame dimensions, in centimeters. These were derived from fractional imperial units , so

1944-518: The film during focusing, either with a focal plane shutter (most common) or with the reflex mirror itself. Both methods are mechanically complicated and add significant bulk and weight, especially in medium-format cameras. Because of their mechanical simplicity, TLR cameras are considerably cheaper than SLR cameras of similar optical quality, as well as inherently less prone to mechanical failure. TLRs are practically different from SLR in several respects. First, unlike virtually all film SLRs, TLRs provide

1998-400: The film in use, a removable back cover, a hexagonal distance scale rod for the different lenses, automatic parallax compensation, an automatic exposure factor indicator and interchangeable focusing screens. Twin-lens reflex camera In addition to the objective, the viewfinder consists of a 45-degree mirror (the reason for the word reflex in the name), a matte focusing screen at

2052-414: The ground glass screen every shot. This advantage of course applies to SLR cameras as well, but early SLR cameras caused delays and inconvenience due to moving the mirror needed for viewfinding out of the optical path to the photographic plate. When this process was automated, the movement of the mirror could cause shake in the camera and blur the image. Using a mirror to allow viewing from above also enabled

2106-404: The heyday of TLR cameras ended long before the era of digital cameras, though they can be adapted with digital backs . In 2015, MiNT Camera released Instantflex TL70, a twin-lens reflex camera that uses Fuji instax mini film. In traditional cameras, the photographer first viewed the image on a screen of ground glass in the same place that a photographic plate would be placed. After adjusting

2160-488: The image in the viewfinder. A TLR's mirror is fixed and the taking lens remains open throughout the exposure, letting the photographer examine the image while the exposure is in progress. This can ease the creation of special lighting or transparency effects. Models with leaf shutters within the lens, rather than focal-plane shutters installed inside the camera body, can synchronize with flash at higher speeds than can SLRs. Flashes on SLRs usually cannot synchronize accurately when

2214-616: The medical gastroscopy camera, the Olympus Gastro Camera is technically the smallest TLR device. Mamiya Mamiya Digital Imaging Co., Ltd. ( Japanese : マミヤ・デジタル・イメージング 株式会社 , Hepburn : Mamiya Dejitaru Imējingu Kabushiki-gaisha , IPA: [maꜜmija deʑitaɾɯ imeꜜːʑiŋɡɯ kabɯɕi̥ki ɡaꜜiɕa] ) is a Japanese company that manufactures high-end cameras and other related photographic and optical equipment. With headquarters in Tokyo, it has two manufacturing plants and

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2268-412: The new leaf shutter lens range (Mamiya Sekor AF 80mm, 55mm and 110mm D lenses with in-built leaf shutters). With these lenses attached, flash synchronizations speeds of up to 1/1,600 of a second are achievable, although the camera can also be programmed to use the focal plane shutter even if a leaf shutter lens is attached. 2010 saw the release of 3 Mamiya DM Systems (Mamiya DM33 System, consisting of

2322-464: The past six decades have become collectors' items. The earliest Mamiya Six medium-format folding camera, the 35 mm Mamiya-Sekor 1000DTL, the lightweight 35 mm Mamiya NC1000, the 6×6 cm medium-format C series of interchangeable-lens twin-lens reflex (TLR) cameras, and the press cameras of the Super/Universal series are highly valued. Mamiya also manufactured the last models in

2376-407: The photograph through another, parallax error makes the photograph different from the view on the screen. This difference is negligible when the subject is far away, but is critical for nearby subjects. Parallax compensation may be performed by the photographer in adjustment of the sight line while compensating for the framing change, or for highly repeatable accuracy in tabletop photography (in which

2430-517: The shutter speed is faster than 1/60th of a second and occasionally 1/125th. Some higher quality DSLRs can synchronize at up to 1/500th of a second. Leaf shutters allow for flash synchronization at all shutter speeds. SLR shutter mechanisms are comparatively noisy. Most TLRs use a leaf shutter in the lens. The only mechanical noise during exposure is from the shutter leaves opening and closing. TLRs are also ideal for candid camera shots where an eye-level camera would be conspicuous. A TLR can be hung on

2484-406: The sports finder feature. The magnified central image is reversed both top-to-bottom and left-to-right. This feature made Rolleis the leading choice for press photographers during the 1940s to 1960s. A primary advantage of the TLR is in its mechanical simplicity as compared to the more common single-lens reflex cameras (SLR) cameras. The SLR must employ some method of blocking light from reaching

2538-622: The subject might be within a foot (30 cm) of the camera), devices are available that move the camera upwards so that the taking lens goes to the exact position that the viewing lens occupied. (Mamiya's very accurate version was called the Para-mender and mounted on a tripod.) Some TLRs like the Rolleiflex (a notable early example is the Voigtländer Superb of 1933 ) also came with – more or less complex – devices to adjust parallax with focussing. It

2592-517: The taking lens – notably, graduated neutral density filters are hard to use with a TLR, as there is no easy way to position the filter accurately. The typical TLR is medium format , using 120 roll film with square 6 cm × 6 cm images. Presently, the Chinese Seagull Camera is still in production along with Lomography's Lubitel, but in the past, many manufacturers made them. DHW-Fototechnik GmbH continues to make

2646-596: The top of the camera, and a pop-up hood surrounding it. The two objectives are connected, so that the focus shown on the focusing screen will be exactly the same as on the film. However, many inexpensive "pseudo" TLRs are fixed-focus models to save on the mechanical complexity. Most TLRs use leaf shutters with shutter speeds up to 1/500 of a second with a bulb setting. For practical purposes, all TLRs are film cameras, most often using 120 film , although there are many examples which used 620 film, 127 film, and 35 mm film. Few general-purpose digital TLR cameras exist, since

2700-441: The very few twin-lens reflex cameras with interchangeable lenses , along with the Koni-Omegaflex and Zeiss Contaflex. There are seven Mamiya Sekor lenses: Every lens has its own Seikosha (chrome) or Seiko (black) leaf shutter system with a shutter speed of B, 1' -1/500 sec, X or M flash synchronisation and bulb mode. The C330 camera has two shutter release buttons, an automatic conversion film counter 120/220, an indicator of

2754-408: The viewing lens. Picture format 10 mm × 10 mm on double perforated 16 mm film. Minox rebadged Sharan Rolleflex 2.8F classic retro TLR film camera, 1/3 scale 6x6 Rolleiflex TLR, using Minox cassette image size 8 mm × 11 mm , 15 mm F5.6 glass triplet lens, mechanical shutter 1/250 sec. Japan made Gemflex, a twin lens reflex using 17.5 mm paper back roll film. It has been argued that

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2808-500: The years well. Many low-end cameras used cheap shutters however, and the slow speeds on these often stick or are inaccurate. There were smaller TLR models, using 127 roll film with square 4 cm × 4 cm images, most famous the "Baby" Rolleiflex and the Yashica 44. The TLR design was also popular in the 1950s for inexpensive fixed focus cameras such as the Kodak Duaflex and Argus 75 . Though most used medium format film,

2862-403: Was discontinued around 1999; the Mamiya 7 was produced for 18 years, with production ending around 2013. The Mamiya 6 is more portable due to a collapsible lens mount, while the Mamiya 7 offers a wider variety of lens options. Both the Mamiya 6 and 7 are compact and quiet cameras which are reputed for the extremely high optical quality of their lenses. In 1999, Mamiya presented the Mamiya 645AF ,

2916-427: Was shipped with the appropriate adapters. The only twin lens reflex camera that uses instant film is Instantflex TL70 manufactured by MiNT Camera which is compatible with Fuji instax mini film (film size 54 mm × 86 mm , picture size 46 mm × 62 mm ) . It is the world's first instant twin lens reflex camera. Gemflex is a subminiature twin lens reflex camera made by Showa Optica Works (昭和光学精機) in occupied Japan in

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