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62-537: 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

124-568: A bellows typically support ' tilt and shift ' of the lens. This permits landscape photography with the appearance of an extremely large depth of field – from closest foreground to the far horizon – to be achieved, by aligning the plane of focus with the subject plane of interest, using the Scheimpflug principle . Compared with 35 mm, the main drawbacks are accessibility and price. While 35 mm cameras, film, and photo finishing services are generally widely available and cheap, medium format

186-666: A dynamic range of up to 14 f-stops. Phase One and Hasselblad used the same 50MP CMOS sensor made by Sony . Similarly, the Pentax 645Z uses a 51 MP CMOS sensor. Fujifilm started its GFX series of medium format digital cameras with the introduction of 50MP GFX 50S model released in January 2017, and as of mid 2024 has seven cameras in the GFX lineup, including three 51 MP models and four 102MP models. While most professional medium-format cameras are expensive, some cheaper plastic imports, such as

248-415: A leaf shutter . A flash sync terminal is part of the lens unit, and the delay can be set to M or X mode. The camera has an interlocking baffle that enables lenses to be changed without exposing the film. Focusing is performed via a bellows system on the front side of the camera. Early models had separate film advance and shutter cocking mechanisms; on later models the shutter was automatically cocked as

310-556: A 39 megapixel back. In 2008, Phase One announced the P65+, a 60 megapixel back, the highest resolution single-shot digital back at that time (2008). Phase One continues to dominate high end non-interpolated imaging with the largest market share. Sinar continues to provide its primary Digital View Camera system while still supporting the HY6 medium format with a new platform independent eSprit 65 LV digital camera back. On 20 September 2010, Leaf released

372-507: A 44×33 mm image sensor and the raw file is in DNG format. It is the first digital version of the company's 645 medium-format camera system and it is compatible with the existing 645 system lenses. In early 2014, the first Medium format cameras with a CMOS sensor instead of a CCD sensor were introduced by Phase One and Hasselblad. This sensor type gives better image quality mainly in High ISO with

434-449: 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 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

496-542: A 6 by 6 cm medium-format picture, which is substantially more expensive than a frame of 35 mm film. 35 mm cartridges are generally easier to load and unload from a camera than medium-format rolls. A 35 mm cartridge is placed inside a camera, and in most motorized cameras this is all that is needed; the camera loads the film and rewinds it into the cartridge for removal. Far fewer medium-format cameras are motorized, and medium-format roll film does not have sprocket holes, so loading often requires that marking on

558-509: A 80MP digital back, the Aptus-II 12. The Leaf Aptus-II 12's sensor size of 53.7 mm × 40.3 mm is 92% of the area of a 56 mm × 41.5 mm standard-sized 6 × 4.5 frame, 69% of a 56 mm × 56 mm square-sized 6 × 6 frame, and 45% of the area of a 56 mm × 84 mm 6 × 9 frame. Introduced in December 2010, the Pentax 645D is a 40 megapixel medium-format DSLR. The camera has

620-476: 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 the Mamiya 645AFD range and RZ/ RB series (via specially manufactured adapters). All

682-418: A camera into a digital camera . These backs are used predominantly by professional photographers. As with film, due to the increased size of the imaging chip (up to twice that of a 35 mm film frame, and thus as much as 40 times the size of the chip in a typical pocket point-and-shoot camera ) they deliver more pixels than consumer-grade cameras, and have lower noise. Features like fan cooling also improve

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744-407: 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 , 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

806-495: A crank for film advance, speeding up camera operation. The line was split in the mid-1960s with the C33 (April 1965) and C22 (March 1966) models. C22 had fewer features, which also made it lighter than the C33. The main distinguishing feature was the C33 had more automated operation, where winding the film also cocked the shutter automatically; the C22 required two separate actions. Both were

868-447: 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 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

930-457: 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 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

992-504: 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 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

1054-499: A new line of digital-friendly medium-format cameras, the H-Series. Since the manufacturer plans to sell digital backs integrated with the camera, other makers of digital backs are far less likely to be able to sell backs for this camera. Camera maker Mamiya developed the 22MP Mamiya ZD in 2004, the first ever medium format DSLR. It also developed a ZD digital back but announced a partnership with back maker Phase One . Camera maker Sinar

1116-610: 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 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

1178-529: A second focusing knob on the left side of the camera. In addition, two more lenses (65mm, 180mm) joined the line. The "Mamiyaflex" name was dropped for "Mamiya" when the C3 was introduced in February 1962; the C3 featured updated styling, adding the name above the lens mount and switching to a gray leather body covering. At this time, the lenses used a new shutter mechanism with a faster minimum speed. The C3 also moved to

1240-409: A wider dynamic range. Medium-format cameras made since the 1950s are generally less automated than smaller cameras made at the same time. For example, autofocus became available in consumer 35 mm cameras in 1977, but did not reach medium format until the late 1990s, and has never been available in a consumer large format camera. The main benefit of medium-format photography is that, because of

1302-558: Is a line of twin-lens reflex medium-format system cameras manufactured by Mamiya between 1956 and 1994. It was developed from the Mamiyaflex series of cameras built from 1949 to 1956. The Mamiya C series was initially aimed at the professional market. Unlike most TLR cameras, the Mamiya C has interchangeable lenses. The upper and lower lenses come off as a unit, and are available in at least seven different focal lengths. The lower lens of each unit has an aperture diaphragm as well as

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1364-456: Is also standard for medium-format system cameras to support different winding mechanisms, viewfinders , and camera backs. This flexibility is one of the primary advantages of medium-format photography. Digital photography came to the medium-format world with the development of digital camera backs , which can be fitted to many system cameras. Digital backs are a type of camera back that have electronic sensors in them, effectively converting

1426-410: Is considered large format photography). In digital photography , medium format refers either to cameras adapted from medium-format film photography uses or to cameras making use of sensors larger than that of a 35 mm film frame. Some of the benefits of using medium-format digital cameras include higher resolution sensors, better low-light capabilities compared to a traditional 35mm DSLR , and

1488-467: Is somewhat offset by the fact that most medium-format systems used interchangeable film magazines, thereby allowing photographers to switch rolls quickly, allowing them larger numbers of exposures before needing to load new film or to change the film type. Some companies had bulk film backs that used 70 mm double-perforated film that allowed up to 75 feet of film to be loaded at one time. While rolls of large format film were produced at one time, their use

1550-423: Is still available from specialty shops and photographic laboratories, yet it is not as ubiquitous as 135 (35 mm) film. The 620 format was introduced by Kodak in 1931 as an alternative to 120. It was discontinued in 1995. The 620 format is essentially the same film on a thinner and narrower all-metal spool. While 620 film is required on a number of old Kodak Brownie cameras, many of these cameras can accommodate

1612-494: Is the ability to use Polaroid instant film in an interchangeable back. Studio, commercial and architectural photographers value this system for its ability to verify the focus and exposure. For some professional medium-format cameras, those used in school portraiture for example, long-roll film magazines were available. Most of these accommodated rolls of film that were 100 ft (30.5 m) long and 70 mm wide, sometimes with perforations, sometimes without. Some cameras, such as

1674-403: Is usually limited to professional photography shops and can be prohibitively expensive. Also, medium-format cameras tend to be bulkier than their 35 mm counterpart. The medium-format film is usually roll film , typically allowing 8 to 32 exposures on one roll of film before reloading is needed. This is fewer than 35 mm cartridges, which typically take 12 to 36 pictures on one roll. This

1736-524: Is usually referred to as "645", with many cameras that use this ratio bearing "645" in their product name. Cameras that can switch to different aspect ratios do so by either switching camera backs, by using a frame insert, or by use of special multi-format backs. All of these dimensions are nominal; actual dimensions are a bit different. For example, 6×7 cm might give an image on film that is actually 56×70 mm; this enlarges exactly to fill an 8×10 sheet of paper. Another feature of many medium-format models

1798-547: The Diana and Holga cameras, are gaining in popularity for their creative potential. In the past, these kinds of cameras have been referred to as toy cameras , but now they are considered a real creative alternative to professional medium-format cameras and are sought after for the unique experimental results they can create. Lower cost medium-format cameras like the Diana F+ and Belair X 6-12 are sold through various outlets, including

1860-610: The Hasselblad , could be equipped with film magazines holding 15 foot rolls of double perforated 70 mm film passed between two cassettes. 70 mm was a standard roll film width for many decades, last used as late as the 1960s for 116 and 616 size roll films. It was also used for aerial photo-mapping, and it is still used by large format cinema systems such as IMAX . 70 mm film used in still cameras, like Mamiya and Hasselblad, and 70 mm print film used in IMAX projectors have

1922-457: The "artistic" results. Because of the popularity of the Lomography photographic style, medium-format photography has seen a resurgence with amateur photographers. Twin-lens reflex cameras (TLRs) and folders without the distortion and light leaks can be purchased on the used market in the same price range. The Chinese Seagull TLR and medium-format cameras from the former Soviet Union such as

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1984-456: 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 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

2046-556: The Austrian Lomography company. In 2007, Lomography brought the 1960s Diana camera back to the market with the Diana F+ camera, a system camera that allows photographers to experiment with interchangeable lenses, flashes, and film backs. These cameras are characterized by their plastic lenses, light leaks that oddly colorize an image, extreme vignetting , and color saturation. While these elements can be considered as flaws to photographers seeking perfect images, many people enjoy

2108-500: The C series, the Mamiyaflex C, was introduced in 1957 as a follow-on to the earlier Mamiyaflex line, which had included the Automat A (1949) and Automat B (1954); the primary innovation of the C was the introduction of an interchangeable lens mount. The Mamiyaflex C was accompanied with 80mm, 105mm, and 135mm lenses. The C2 was introduced in June 1958 and is distinguished from its predecessor with

2170-474: 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 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

2232-508: 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 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

2294-592: The Russian Lubitel and somewhat better made Ukrainian Kiev-Arsenal 60 and 88 are also available at moderate prices. These cameras can deliver quality images, although the lenses and camera bodies are not at the level of those from Swedish, German, and Japanese manufacturers. Depending on the condition of the camera, they can produce images ranging from the Lomographic style to images closer to their European and Japanese counterparts. In 2008 Lomography also reintroduced

2356-600: 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 the name "Mamiya" were controlled by M.A.C. and resulted in considerably higher retail prices compared to outside the United States. As of 2014 MAC group no longer manages the Mamiya brand in America, all sales, service and support

2418-405: The backing paper of the film be lined up with markings on the camera, and on unloading, the backing paper must be carefully secured to protect the film from light. All medium-format cameras mass-produced today (as of 2024) use the 120 film format. Additionally, many are capable of using the 220 film format, effectively doubling the number of frames available with 120 film. Medium-format roll film

2480-562: 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 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

2542-459: The film was advanced. There is no metering in the camera body, so an external light meter is necessary; later models were compatible with optional accessory viewfinders that had built-in meters. While the basic shape remained the same, the bodies increased with size over time. Two of the early models were branded with "Mamiyaflex" on the nameplate attached to the viewfinder; all of the other C series cameras were branded with "Mamiya". The first in

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2604-566: The first Mamiya C TLRs that were able to use 220 film, but a different back was required. The C220 (April 1968) and C330 (October 1969) models were developed from the C22 and C33, respectively, with updated styling (the prominent nameplate now had chrome lettering on black) and a built-in switchable pressure plate to enable the use of 220 film. Weight was reduced as well. The final two lenses (55mm and 250mm) also were introduced at about this time. The later C330f, C220f, and C330S were refined versions of their respective base cameras, and carried

2666-401: The image quality of studio models. This market began in 1992 when Leaf Systems Inc . released their first digital camera back (4 Megapixels ), named the "DCB" (often described as 'a brick'). Initially mounted on Sinar Studio cameras, the camera backs were later moved to medium-format units. By the late 1990s, a number of companies produced digital camera backs of various types. In the 2000s,

2728-447: The larger size of the film or digital sensor (two to six times larger than 35 mm), images of much higher resolution can be produced. This allows for bigger enlargements and smooth gradation without the grain or blur that would characterize similarly enlarged images produced from smaller film formats. The larger size of the film also allows for better control of the depth of field and therefore more photographic creativity. Cameras with

2790-544: 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 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

2852-829: The letter annotation on a nameplate below the lens mount. One of the changes from the C330 to the C330f, for example, was the inclusion of a focusing track lock on the latter. Lenses for the Mamiya C series have been grouped by users into three different series based on the shutter model and the color of the shutter housing: first chrome, second chrome, and black. Most lenses can be used on most bodies, but some combinations won't allow for automatic shutter cocking. The first chrome series had Seikosha -MX shutters with speeds from 1 s to 1 ⁄ 400  s. The second chrome series had Seikosha-S shutters with speeds from 1 s to 1 ⁄ 500  s, plus Bulb. A few chrome shutter lens had

2914-494: The mass-produced Kodak folders, use the discontinued 620 film requiring the user to respool 120 films or modify the film spool to fit. There have been several projects to produce open source 3D printed cameras including K-Pan and Dora Goodman Cameras which produces medium format cameras as well as 35mm and large format compatible cameras. Goodman cameras are compatible with Mamiya press lenses and some Mamiya medium format film backs. Mamiya C The Mamiya C series

2976-401: 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 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

3038-540: 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 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

3100-593: The number of vendors of both high-end medium-format camera systems and digital backs began to decrease. The performance of digital SLRs cut into the sale of film-based medium-format systems, while the tremendous development expenses for medium-format digital systems meant that not all vendors could profitably compete. Contax and Bronica ceased production of cameras, Kodak stopped making their DCS series of backs, and camera and back manufacturers began to integrate. Camera maker Hasselblad merged with digital imaging firm Imacon and partnered with Fuji to design and produce

3162-744: 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 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,

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3224-666: The previously discontinued Lubitel with the Lubitel 166+, a recreation of the original 1946 Lubitel camera with some new features including dual-format capability. Since 2014, Lomography has been producing its medium format version of the Soviet-original Lomo LC-A camera, the Lomo LC-A 120, as compact option for medium format photographers. Used folding cameras , TLRs, and box cameras are also an inexpensive option to shoot medium format. Many U.S.-made folders, including most of

3286-577: The same gauge or height as 120 film. With 70 mm cine projector film, the perforations are inset by 2.5 mm to make room for the old-style optical sound tracks; a standard established by Todd-AO in the 1950s. IMAX cameras use 65 mm film, which have perforations and pitch that match-up to the 70 mm film used in IMAX projectors. Many professional medium-format cameras are system cameras , which means that they have various interchangeable parts. Like most 35 mm SLRs , these cameras usually support different lenses , but in addition it

3348-511: The slightly larger 120 rolls/spools. In other situations where the camera cannot accommodate a 120 spool, the 120 film can be rolled onto a 620 spool in a darkroom or changing bag . This film is shot in a variety of aspect ratios , which differ depending on the camera or frame insert used. The most common aspect ratios are 6×6 cm (square/1:1) and 6×4.5 cm (rectangular/4:3). Other frequently used aspect ratios are 6×7 cm, 6×9 cm, and 6×17 cm panoramic . The 6×4.5 cm format

3410-595: 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 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

3472-463: 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, a large, heavy, medium-format camera with built-in closeup bellows was innovative and successful. Previous medium-format professional SLR cameras used

3534-402: 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 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

3596-407: Was produced for some cameras, but these cameras tend to be smaller, lighter, and easier to use than large format gear. Sheet film was never commonly used in cameras smaller than medium format. Film cost per exposure is directly related to the amount of film used, thus, the larger the film size, the more expensive each picture will be. An 8 by 10 in large-format negative is far more expensive than

3658-443: Was specialized, typically for aerial cameras installed in military aircraft or printing industry equipment. Most large format film is sheet film , that is, film where each picture is on a separate piece of film, requiring that the camera be frequently reloaded, usually after every picture, sometimes using magazines of up to five pictures or reduction backs that allow multiple pictures on a single sheet of film. Medium-format sheet film

3720-548: Was taken over in stages by the digital camera back manufacturer and developer Jenoptik , and partnered with Rollei for the development of the Hy6 medium-format camera systems. DHW Fototechnik presented at photokina 2012 an updated version of the Hy6, called the Hy6 Mod2. The Leaf Aptus 75S digital back offers 33MP resolution, with a shooting speed of 50 frames a minute. In early 2006 Hasselblad (H2D and H3D) and Phase One (P45) released

3782-459: 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 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

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3844-550: Was transferred to Phase One who already owned a large portion of Mamiya. Medium-format Medium format has traditionally referred to a film format in photography and the related cameras and equipment that use film. Nowadays, the term applies to film and digital cameras that record images on media larger than the 24 mm × 36 mm (0.94 in × 1.42 in) used in 35 mm photography (though not including 127 sizes), but smaller than 4 in × 5 in (100 mm × 130 mm) (which

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