2020. 2. 29. 12:39ㆍ카테고리 없음
Mamiya C330 Professional – An Old Gem(X-post from 'Film Shooters Unite')A user at a local site had some questions about an old camera, the Mamiya C330 Professional with the 135mm F4.5 short tele lens, that he had been given by an older friend. He asked how to check if it was functional, how to operate it, and so forth.He soon concluded that it was too much hassle for him and tried to sell it, but there was little interest, so I decided to take it off his hands. I’m glad that I did, as the camera is quite nice and much fun to use.The Mamiya C330 is a so-called Twin Lens Reflex camera.
It uses 120 (or 220) film, and the negative format is 6x6 cm and will give 12 images on a roll of 120 film. It is a system camera in the sense that you can switch lenses and viewfinders, and the system includes two wide-angle lenses (55mm and 65mm), two standard lenses (80mm and 105mm) and three tele lenses (135mm, 180mm and 250mm). There are also different viewfinders: straight waistlevel finder, magnifying hood (or chimney) finder, pentaprism finder and a two pentamirror finders (called “porrofinders”) with or without CdS light meter. My camera came with both the standard waist-level viewfinder and the chimney finder.I had to clean the camera up a bit, especially the viewfinder systems, and remove a couple of decades’ worth of dust and grit, give the shutter a little work-out, and check the overall functioning.
There was some fogging or moisture inside both the viewing and the taking lens, but the 135mm is a rather simple objective with only four elements, so it was fairly easy to take the lenses apart and clean the glass inside. (Note: do not remove the two lenses from the lens board, as it can then be rather difficult to adjust proper focus afterwards.)The shutter was sluggish at first, but responded well to some gentle coaching. The big question on these old machines is: does the camera wind the film properly?
I tried it with some 120 backing paper without film, and it seemed to work all right, but the handle would not stop as it should at frame number 12. Well, I could live with that, so I put in some Kodak Tri-X film and sallied forth. (Note: the camera has several complicated interlocks, so it has to be tested with film in the camera and operated in the proper manner.)I only had time for a few shots on my first trip before it became too dark to do much photography.
Here is one taken rather late in the evening:Passenger TrainThe next morning was misty and grey with rain approaching, but I wanted to complete the film. The film came out amazingly well, I think. I don’t know if the shutter speeds are exact, but the film was well exposed, and the images sharp and crispy.Dyrehaven - Springforbi gateOld, Struggling HawthornI can recommend trying out some of the old medium-format cameras. In addition to the Pentax 645 system and Pentax 6x7 system I now have two old Zeiss folders from the early 50’ies (6x6 and 6x9) plus this “new” TLR from 1969, and they are all a joy to use. It sharpens your eye, when you instead of a 32 GB memory card have to make do with a 120 film with in this case only 12 images.The 135mm isn’t the sharpest lens of the bunch, but it is a valued portrait lens. Still, my images came out sharp enough.
Mamiya C330 Manual
Proper focus is fairly easy to obtain with the large focusing screen and the nice rail focusing mechanism. The magnifying hood improves contrast and magnifies the image on the screen, but also adds bulk to the camera. I’m not sure which viewfinder system, WLF or chimney, I like best. The Seiko leaf shutter is nearly silent, and no moving mirror means almost zero camera shake at normal speeds.All in all I find the approx.
100 GBP well spent.
As it happens, there are currently not one but two of these gold Mamiya c330 Special Selections selling on eBay! Both sellers are in Japan, and each one is asking thousands of dollars for the camera. Each seller says that only 50 of these special edition cameras was made, but neither quotes any source for that claim. I’ve seen one of these previously on eBay, but couldn’t find any other information about this special edition. Graham Patterson’s website (gapatterson.org), typically the Bible regarding Mamiya’s TLRs, is silent about this special edition. Anyway, congratulations!
As a longtime Mamiya TLR enthusiast, I have to say that I’m envious. Unfortunately, there is no exact equivalent to the exhaustively complete 'Hasselblad Compendium' published for Mamiya cameras: the wonderful Robb Smith Mamiya volume pre-dates these gold limited editions by some years, and the Bob Shell Mamiya book covering '80s thru '94 doesn't seem to mention them. So all one can rely on is guesswork and scraps of info gleaned from Japanese dealers and the special-edition cameras themselves.These 'gold edition' Mamiyas (both RB67 and C330S) don't seem to have collector awareness or appeal outside Japan, the market they were intended for in the first place. They sit and rot on eBay, rarely turning up in the 'sold' column. That is not a reflection on the innate desirability of the cameras themselves: both are amazing medium format classics.
But simply surface-glazing a couple spots in gold on a small number of otherwise-common non-descript cameras with zero pre-existing collector interest does not make them 'collectible' in the traditional sense (the gold trim and lizard leatherette are rare, but nobody really cares).The cameras and lenses under the gold are too common, were never considered particularly beautiful or display-worthy, and other than the trim there is nothing rare about them: they're ordinary examples pulled off the assembly line and glitzed up. The 330S is particularly problematic as the gold has been added to plastic parts like the base cap and lens mounting board nameplate. Gold is gold and rare is rare, but 'collectors' usually want a limited edition camera to be unusual, or all-metal, and/or of European craftsmanship (Leica and Hasselblad/Zeiss gold has cachet, Mamiya not so much).Actual numbers are hard to pin down. Trustworthy Japanese sellers claim 300 for the RB67 'GL' and 50 for the C330S 'Special Selection'. I see no evidence anywhere on the RB of separate serial numbering, no commemorative badge on body, back, finder or lens that could give any clue as to numbering or quantity. The TLR does have a bespoke gold limited numbering plate on the side, but I've seen numbers above 100 which seems to contradict claims the edition numbered only 50 (unless the numbering began at 100 or jumps in odd increments).
The actual serial number of the 330S body is removed from its 'chin' during the gold application, so no clue available there.Year of mfr on these is anyone's guess. The RB67 Pro-S 'GL' is typically flagged as 1981, a year which doesn't seem to bear any anniversary relevance to the camera model (RB67 Pro was introduced 1970, Pro-S 1974, Pro-SD 1990). With the 330S 'Special Selection' I'm inclined to agree with Joe Lopez' theory that they celebrate the end of Mamiya TLR production in 1992, tho its equally possible they celebrate the introduction of the heavily modified 330S model itself in 1982.
If the 1981 date for the RB is correct, the 330S with identical lizard/gold cladding seems more likely to coincide in late 1981 or early 82.Until your post, morizklonner, I'd never hear of gold-ring editions of the 55mm 4.5, 135mm 4.5 or 180mm 4.5. Only the standard 80mm seems to appear in mentions of the gold C330S.
Since you have these in your possession, my guess is they were a very special gift from Mamiya to your friend's family, or that the estimate of '50 Special Selection' may have only applied to a complete outfit that included these additional lenses with the the 330S and 80mm. I would think your larger outfit of four gold ring lenses plus the camera body would definitely be collectible, worth at least the $3000+ Japanese vendors ask for the body+80mm alone. But as with anything 'collectible' the value hinges entirely on the pool of potential buyers and what they'd actually be willing to pay.Re your question about the lenses: your 80mm 'S' is definitely 'blue dot' era, being the final 80mm design offered (the blue dot decal may have gone missing, or not been applied to gold versions). This 80mm is unique among Mamiya designs in that it has no double serial numbering around the front elements of the viewing/taking glass (the complete name and single serial number are printed around the top barrel of the viewing lens). Also unique: the viewing and taking lenses are of different optical formulas (cannot be swapped), and the 80S is often thought to be the only truly multicoated Mamiya TLR lens.The other three lenses, if they genuinely came as a set with the camera, would also be of early '90s mfr (so de facto Seiko blue dot, whether or not the blue dot appears on the shutter knob). The gold rings were originally silver-colored aluminum, and normally provided only with the 65mm, 180mm and 250mm lenses as protection devices for the very thin metal barrel around their larger 49mm filter threads. The 55mm, 80mm, 105mm and 135mm have stronger, smaller 46mm filter threads that did not originally include silver aluminum protection rings (so the gold 46mm rings on your 55mm and 135mm are definitely rare and bespoke).These are all very good lenses regardless of trim or limited edition status, with the 180mm being the best TLR lens Mamiya ever made (and one of the finest lenses ever offered for 6x6 cameras, period).
Mamiya TLR lenses are not especially valuable: in good condition most sell for about $100, with the somewhat scarcer 55mm and 250mm running closer to $200. If the serial numbers on yours could be officially corroborated as gold-ring editions coming with your 330S as a commemorative set, they might or might not be worth much more.The C330S was the final iteration of legendary Mamiya C330 TLR body, with several minor refinements and one huge improvement: the viewfinder optics and esp focus screen is fantastic (probably the best to ever come as standard equipment on a 6x6 TLR or SLR, comparing favorably with even the Hasselblad Acute Matte). Despite being made for a decade (1982 thru 1992), it is fairly rare on the second hand market, usually selling for double the price of its similar, far more common predecessor the C330F. A gold trim limited edition would certainly be worth even more, tho how much more is up to the buyer.In any event, as a complete kit this outfit would have originally been considered a very gracious gift of some import to your friend's family, and they presumably passed it on to you with equal respect in the belief you would appreciate owning such a fine camera.
You didn't specify if all the items include their packaging and paperwork: if so, keep them for display and don't use them outside. If no boxes/papers, I would be inclined to use it at least a little bit: while collectible to an extent, it isn't likely to value inflate by leaps and bounds in future years (only Leica does that). If you enjoy 6x6 medium format, this is an wonderfully fun and versatile outfit, unique among TLRs with its built-in close focus bellows and interchangeable lenses. Congrats on receiving it!
Thank you all for your input, especially you, Orsetto!The camera did not come with original boxes, and it is not in mint condition anymore, as there are some tiny scuffs and one defect in the name plate area.As it was given to me to be used, I do intend to use it, it is a camera, so it does not make any sense to me to keep it only for display purposes.However, I try to take good care of it.As the whole color scheme is quite showy, I'd rather have the black version of it, but so it goesHere are some pictures for you guys as a sign for my appreciation for you! Beautiful!Much nicer looking than the standard-issue C330S, which looks a bit drab even compared to the old C220. The lizard skin is in excellent condition for one of these: often it cracks and peels in spots. The additional lenses are a nice bonus: really unique with the gold rings.
The 180 Super is incredible as I mentioned earlier. The 55mm is of the highly-desirable final production run, when Mamiya nailed down the optical assembly better than it had been previously. The 135mm is better than its so-so reputation makes people think, and here again is a very late production, better-sorted example.Before taking it out to shoot, I'd recommend removing and storing the valuable gold rings on all the lenses. Replace them with skylight filters (46mm on all except the 180mm which takes 49mm). Look for the thinnest rims possible on the filters, so they sit flush with the lens barrels (no overhang). You might need to file down one spot on one of the filter rims make the two filters fit simultaneously on each lens pair (esp with the 180mm).May you get many years photographic joy from this kit!
Beautiful!Before taking it out to shoot, I'd recommend removing and storing the valuable gold rings on all the lenses. Replace them with skylight filters (46mm on all except the 180mm which takes 49mm). Look for the thinnest rims possible on the filters, so they sit flush with the lens barrels (no overhang). You might need to file down one spot on one of the filter rims make the two filters fit simultaneously on each lens pair (esp with the 180mm).May you get many years photographic joy from this kit! They're definitely removable on the standard-issue lenses. In fact they must be removed in order to use filters, because they occupy the filter threads as replacement support when no filter is mounted.I suppose its possible these unusual gold rings were permanently affixed to mark their status as 'Special Selection' lenses, under the assumption nobody would ever actually use them or require the filter threads.
Try putting on a latex glove (as used in doctors offices and hair color products): this almost always gives enough grip to safely remove the rings. If they still won't budge, leave them alone: could be thread lock or some other permanent bonding agent holding them in place. During use, you'll just need to be mindful of dust or fingerprints on the front elements. If you still can not remove the rings with the suggestions Orsetto provided, you might try to set up something like a strap wrench before giving up.
The idea is that the loop wraps completely around the ring and applies nearly equal force completely around. I'm not suggesting you go out and find a strap wrench for the job, rather I am suggesting you use the principal of a strap wrench.The problem with thin rings such as filters and trim pieces or filter securing rings like on the Hasselblad C Series 50mm and 60mm lenses, is that as you grasp it and apply force to unscrew it, you are actually deforming it to a degree, causing it to bind and not move. Have you ever had a filter seem to be immovable only to find that with another try but with much less pressure it comes loose? Same principal at work.I have had success simulating a strap wrench by looping a camera strap around the ring and pinching the strap ends tightly at the point where the arcs of the loop meet. Then as you pinch them tightly, try to unscrew the ring.