These lenses also have an M-X flash selector too – (‘M’ would have been for flashbulbs – remember them? – and ‘X’ for electronic flash. The lenses take either a 46 or 49mm filter (which is economical – a step up ring only being required to enable one set of filters to cover all these lenses). There are 10 lenses generally available, from a 55mm f/4.5, through the 80mm f/2.8 right up to a 250mm f/6.3 (some focal lengths having more than one variant). In this regard, it’s like the poor persons Hasselblad, indeed, even the default waist level finder can be swapped out – or even enhanced.
The advantage these Mamiya’s have over the TLR opposition – even the sought after variants of the Rolleiflex – is that the twin lenses are interchangeable – mid-roll if you wish. The spools slot in easily as the take-up spool ‘pins’ can be pulled and locked out of the way until the roll is seated.Īnd now, the best bit… The Mamiya C lens system There is no threading the backing paper under rollers or back on itself. Loading film is a breeze (in comparison to even my Bronica, and more so the Hasselblad), as it is pulled from the spool straight up the back of the camera into to the take-up spool. At close camera-to-subject distances, you can allow for parallax compensation (the shift in field of view between the taking and the viewing lens) with a remarkable contraption called the “Paramender”. The 80mm ‘standard’ lens focuses to 35 cm (the 55mm will go to 24 cm). The camera uses a rack and pinion bellows focusing system, so if close up is your thing, you’re in for a treat.
#MAMIYA C220 REVIEW PROFESSIONAL#
Mamiya C220 Professional TLR – Figure 4 – Bottom view Focusing These fall perfectly into place when hand-holding the camera. Being a TLR, the image you see on the focus screen comes from the topmost lens, whereas the bottom lens is the one used for capturing your image on film.Īs you look down, you will see the focus knobs jutting out from the front left and right. This means that you look down onto the focusing screen, where you see a laterally reversed (flipped) image. The body is fitted with a waist level finder as standard.
#MAMIYA C220 REVIEW SERIES#
It’s interesting to note that all lenses can be used with all bodies and some of the later bodies in the C220 and C330 series also alow focus screens to be interchanged between models. The most useful feature, as mentioned above, is the fact that you can, almost exclusively in the world of TLRs, change the lenses. The C220 Professional was an evolutionary step in the Mamiya ‘C’ line of TLRs, which started with the Mamiyaflex C in 1956 and continued through:Įach evolution introduced new features (as described here) and updates to the build.
The camera is unique among TLRs in that it focuses using a large bellows system, allowing you to capture subjects at very close distances (more on this later). This is a Twin Lens Reflex (TLR) camera that takes 120 roll film, and, typically for this format, it shoots 12 exposures per roll (24 on 220 roll film if you can find it anywhere!) The “System” bit comes from the fact that you can change the stock 80mm lens for others in the range – 45mm all the way up to 250mm. I took the plunge in Autumn 2013 and hit the beach and the woods after pondering for a good while about ‘the square’! As a landscape photographer (as I call myself) could I see myself working with the constraints of the 6×6 format? Then I read somewhere that, all we have to think about is that every album cover being proof that some excellent square images can, indeed, be made.
#MAMIYA C220 REVIEW REGISTRATION#
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