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34-603: This is a list of products made by Mamiya , including cameras and lenses. Models made by Mamiya but marketed under other labels are shown in parentheses. For details, see Mamiya 645 . Mamiya RB lenses come in original (single-coated), C (multi-coated), K/L (newer design multi-coated), L (newer design multi-coated, Pro-SD body only), and APO/L (low-dispersion glass, Pro-SD body only) versions. Mamiya RZ lenses feature Seiko #1 electronic shutters. M42 list from (lenses 3.5/14mm until 3.5/45-90mm) and own collection (lens 3.8/80-200mm) M42 list from The mamiya/sekor 55mm 1:1.4

68-516: 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

102-541: 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

136-705: 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

170-409: 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

204-545: 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

238-405: A result, an unmodified 120 spool will not fit a camera designed for 105 film, such as a No. 1 Folding Pocket Kodak, as the overall length between the outside of the flanges is too long to fit the width of the film chamber. The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially

272-453: 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

306-401: 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

340-538: 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

374-400: 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

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408-465: Is held in an open spool originally made of wood with metal flanges, later with all-metal, and finally with all-plastic. The length of the film is nominally between 820 millimetres (32 in) and 850 millimetres (33 in), according to the ISO 732:2000 standard. However, some films may be as short as 760 millimetres (30 in). The film is attached to a piece of backing paper longer and slightly wider than

442-611: Is known to have radioactive thorium glass elements. Mamiya 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

476-518: Is thinner than a film with a backing paper, a special pressure plate may be required to achieve optimal focus if the film is registered against its back side. Some cameras capable of using both 120 and 220 film will have a two position adjustment of the pressure plate (e.g. the Pentax 6x7 , Mamiya C220 or Mamiya C330 ) while others will require different film backs e.g. the Pentax 645 or Kowa Six . The specifications for 120 and 220 film are defined in

510-466: The ISO 732 standard. Earlier editions of ISO 732 also provided international standards for the 127 and 620 film formats. 120 film allows several frame sizes. (cm) User selectable on newer cameras, if a roll is only partially used then a "kink" may appear in the film where the roll touches rollers in a film back magazine and this may end up on a frame; this is not a problem when 15 exposures are used as

544-534: 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

578-496: 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

612-456: 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

646-665: 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

680-453: The No.1 Brownie, 6×6 cm format. These formats used the same width film as 120 film, but with slightly different spools. The 105 spool has a much wider flange, similar to the 116 spool, while the 117 spool's flange is slightly narrower than the 120. The 105 and 620 spools also have much thinner flanges than the 117 and 120 spools (0.635 mm (0.0250 in) vs. 1.524 mm (0.0600 in)); as

714-474: 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

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748-486: 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,

782-419: 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

816-508: 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

850-442: The film. The backing paper protects the film while it is wound on the spool, with enough extra length to allow loading and unloading the roll in daylight without exposing any of the film. Frame number markings for three standard image formats (6×4.5, 6×6, and 6×9 [4:3, 1:1, and 2:3 aspect ratios]; see below) are printed on the backing paper. The 220 format was introduced in 1965 and is the same width as 120 film, but with about double

884-611: The gaps between exposed frames is larger, nor if the camera is not used intermittently. The 6×9 frame has the same aspect ratio as the standard 24×36 mm frame of 135 film . The 6×7 frame enlarges almost exactly to 8×10 inch paper, for which reason its proponents call it "ideal format". 6×4.5 is the smallest and least expensive roll-film frame size. The wide 6×12, 6×17, and 6×24 cm frames are produced by special-purpose panoramic cameras. Most of these cameras use lenses intended for large format cameras for simplicity of construction. Cameras using 120 film will often combine

918-409: The length of film and thus twice the number of possible exposures per roll. Unlike 120 film, however, there is no backing paper behind the film itself, just a leader and a trailer. This results in a longer film on the same spool, but there are no printed frame numbers. Because of this, 220 film cannot be used in cameras that rely on reading frame numbers through a red window. Also, since the film alone

952-489: 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 was transferred to Phase One who already owned a large portion of Mamiya. 120 film 120 is a film format for still photography introduced by Kodak for their Brownie No. 2 in 1901. It

986-412: 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

1020-448: The numbers of the frame size in the name e.g. Pentax 6×7 (6×7), Fuji 617 (6×17), and many 645 s (6×4.5). The number '6' in general, and the word 'six' are also commonly used in naming cameras e.g. Kiev 60 and Pentacon Six . The 105 format was introduced by Kodak in 1898 for their first folding camera and was the original 6×9 cm format roll film. The 117 format was introduced by Kodak in 1900 for their first Brownie camera,

1054-457: 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

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1088-443: The same film on a thinner and narrower all-metal spool (the 120 spool core was made of wood at that time): Hence the 620 is sometimes referred to as "small hole" 6×6 or 6×9 as opposed to 120 "large hole". The 620 format was discontinued by Kodak in 1995, but it is possible to rewind 120 film onto a 620 spool in the darkroom for use in 620 cameras. According to Kodak, the narrower metal spool allowed building smaller cameras. Nonetheless

1122-403: 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 ,

1156-418: Was originally intended for amateur photography but was later superseded in this role by 135 film . 120 film survives to this day as the only medium format film that is readily available to both professionals and amateur enthusiasts. The 120 film format is a roll film which is nominally between 60.7 mm and 61.7 mm wide. Most modern films made today are roughly 61 mm (2.4 inches) wide. The film

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