The Mamiya Twin Lens Reflex Model C can be considered as two series of cameras spanning a production life of nearly 38 years, based on common ancestors (the fixed lens Mamiyaflex A and B – see section 17 for a brief chronology). The ‘3’ series was the ‘Professional’ model, while the simpler ‘2’ series was the ‘amateur’ or ‘budget’ model. However the final models in both series bore the ‘Professional’ label. The difference was one of features rather than build quality. Models are listed in their order of introduction. From the C220 onwards, the body was redesigned to be slightly smaller, and increasing use was made of plastics.
Serial numbers for the bodies (for the C33 and later models at least) are located on either the front face or upper surface of the ‘chin’ of the lens mount. It can be hard to see with a lens mounted.
The C330 (and possibly the C330f and C330s) was also produced in an all-black finish to the bellows frame, in place of the more common chrome. It doesn’t seem to be very common, but if anyone can throw more light on this topic, it would be appreciated. During the 1970’s there was a trend in the 35mm single lens reflex world to produce both chrome and black cameras. The black was supposed to be the low visibility, ‘professional’ version. Ironically, the chrome finish wore considerably better!
Some cameras (C3s and others) appear to have had mid-grey leatherette instead of the mode common black. There was a vogue for grey cameras in the 50’s and early 60’s, so Mamiya may well have produced some. Which models were involved, and how many were produced is unclear. There are also after-market leather kits available in a range of colours so it is just as likely to be a replacement as a manufacturer’s item.
The C330 (and probably later models) have a textured surface to the inside of the camera where the film baffle is located. The C220 and earlier models have matt black paint. The actual paint does vary between camera models. In theory the textured surface should result in less internal reflections and better contrast. Since the film baffle has a covering of velvet, the bottom of this chamber is not treated to the same extent.
It is becoming clear from various reports of ‘discrepancies’ between the cameras detailed here and actual examples in people’s possession that these cameras are subject to numerous detail differences within a particular model. While all the details given are based on inspected examples and original documentation, there may well exist still more combinations that haven’t been included. Where possible, points of difference will be mentioned.
A pictorial guide in the form of a Mamiya system chart for the early production C330s can be found at http://www.gapatterson.org/mfaq/mamiyaC330systemchart.pdf . This is a Portable Document File. There are variations between models, notably in terms of screens and single sheet backs, that are not noted in the diagram. Please refer to the text.
All models use a rack and pinion focus bellows system providing around 56mm extension. The effective extension depends on the initial amount required for infinity focus with individual lenses. Note that this is a twin bellows; the viewing and taking sections are separated by an internal baffle. The distance scales apparently measure from the film plane. In the case of the C330 this lies approximately 8mm forward of the camera back. There is no reference mark.
The original Mamiyaflex focusing scales were superceded on other early models up to the C33, and including the C220 and C220f, by engraved plates mounted on the bellows mounting frame. The selection of lens focal lengths on these plates does vary between models, and even between examples of the same model. Some of these plates may be a retro-fit to enable the use of later lenses.
The multi-exposure control on the camera only serves to disengage the multiple exposure prevention facility and not the film advance. This allows the shutter release(s) to operate repeatedly if the shutter is cocked manually on the second and subsequent exposure. This is unlike most other cameras where the wind-on stroke cocks the shutter without moving the film.
The sequence is to expose the first frame, switch to ‘Multi’, manually re-cock the shutter and use the normal shutter release to make a subsequent exposure. Reset the control to Single, and advance the film in the usual manner.
It is also possible to achive the same effect by manually tripping the lever on the shutter, but it isn’t as convenient to reach as the standard shutter release.
Some cameras are sensitive to ‘first pressure’ on the shutter release. This appears to trip the double exposure mechanism without affecting the shutter. This behaviour may reflect the wear that the body has received. There are workarounds involving the multi-exposure control or manual triggering of the shutter, but it is best to be decisive about making the exposure.
A similar problem can arise with certain lenses that permit the shutter trip lever to move even if the lens is not cocked.
There is a ‘feature’ of the interlock mechanism that can cause unexpected problems. Early 120 colour film was often sold in 6 exposure lengths. This may have been due to either cost or the physical thickness of the film base and emulsion. In order to wind off the film without going through a further 6 blank frames, the shutter release is held down on the first extra frame while the film is wound off. The most likely use for this ‘feature’ is to allow an early film change when working with action subjects. It can be a danger, as one or two users have discovered when using a locking cable release or auxiliary timer! Also see section 11.7.
The Mamiya Flex name was used for a series of fixed lens twin-lens reflex cameras built from 1948 to about 1956. These had ‘A’ and ‘B’ designations, hence the ‘C’ in the interchangeable lens models. Refer to the Mamiya web page (Section 13) for details. The dates of manufacture are very difficult to confirm. Some references quote the date of announcement, others the date of first availability in a particular country. Further more, older models would still be available new for a period. The basic C220/C330 design, with minor modifications, lasted some 26 of the 38 year production history.
More detail on dating of the cameras and lenses can be found in Section 2.6.
Summary of model chronology
| Model | Initial year of production | Final year of production |
| Mamiyaflex C | 1956 | 1958? |
| C2 | 1958 | 1962? |
| C3 | 1962 | 1965 |
| C33 | 1965 | 1969? |
| C22 | 1966 | 1968? |
| C220 | 1968 | 1982? |
| C330 | 1969 | 1974 |
| C330f | 1972 | 1982 |
| C220f | 1982 | 1995 |
| C330s | 1983 | 1994 |
For the frivolously minded: the texture on the rubber covered models is a capital ‘M’…
| Dates of manufacture | 10/1956 or 1/1957 - 1958? |
| Weight (body) | |
| Film advance | Knob, automatic frame counting and spacing. |
| Shutter cocking | Manual |
| Shutter releases | One, right side |
| Parallax compensation | Scale |
| Exposure compensation | Scale. |
| 120/220 capability | 120 only |
| Lens focus scales | 80, 105, 135mm |
| Interchangeable screens | No |
| WLF type | Sports finder (80mm) |
| Flash shoe | Yes |
| Removable back | Yes |
| Multi-exposure | Manual stop to prevent double exposure |
| Cable release | Appears to vary with age - some have been seen with, some without. There are reports that modern standard conical releases do not work. The fitting is in the side of the front standard, level with the shutter release arm. |
| Tripod screw | 1/4" |
| Other idiosyncrasies | Original chrome 80mm, 105mm, 135mm lenses (1/400 second). Frame counter must be manually reset. Also known as the Mamiya Flex C Professional. There is a single focus knob on the right side, with a focus lock on the left. The lens retaining wire is hinged from the opposite side when compared to the C3 and later models, and the light baffle control is on the right side. The base of the camera differs from the later models in not having the flat base / tripod socket / ‘chin’ front. The cameras were equipped with two ‘Dracula fang’ type support pins, which required a special tripod adapter. (Picture courtesy Ken Kirch). There appears to have been an early paramender design for this camera. |
| Dates of manufacture | 6/1958 - 1962(?) |
| Weight (body) | 1250 |
| Film advance | Knob. Incorporates frame counter around knob barrel. A red window is fitted as a 'film loaded' indicator only. |
| Shutter cocking | Manual |
| Shutter releases | One, side, metal stud |
| Parallax compensation | Two ruled lines for use with the exposure compensation scale. |
| Exposure compensation | On focus scale. |
| 120/220 capability | 120 only |
| Lens focus scales | Left side of bellows. Examples are known with various scale combinations. |
| Interchangeable screens | No |
| WLF type | Sports finder for 80mm. Type 1? |
| Flash shoe | Cold, upper left side |
| Removable back | Yes, sheet film back option |
| Multi-exposure | Yes (There is a film transport lock only, no shutter interlock) |
| Cable release | Conical thread socket on lens panel frame, level with the shutter release arm. |
| Tripod screw | 1/4" |
| Other idiosyncrasies | Introduction of second focus knob (both are chrome), addition of 65mm and 180mm lenses during life of this camera (an example of the manual lists the 80mm, 105mm, 135mm, and the 180mm, but not the 65mm). Some bodies were sold with the Seikosha-MX series lenses. Upper front label reads 'Mamiyaflex'. The lens retaining wire latches on the right side. The 'lock/unlock' control is also located on the right side. The film advance lock without shutter lock requires a consistent exposure / wind-on policy to avoid double exposures and missed frames. |
| Dates of manufacture | 9/1962 - 1965 |
| Weight (body) | |
| Film advance | Crank, partial 360 degree stroke, reversed to rest, double exposure prevention (see Idiosyncrasies below) |
| Shutter cocking | Manual |
| Shutter releases | One, side, metal stud |
| Parallax compensation | Scale in finder used in conjunction with exposure compensation scale. |
| Exposure compensation | Scale on left side of bellows. |
| 120/220 capability | 120 |
| Lens focus scales | 65mm, 80mm, 105mm (chrome), 135mm, 180mm. A retrofit to accept the 55mm and 250mm lenses was available. This includes the 65mm and 80mm scales not found on the equivalent C33 update. |
| Interchangeable screens | No |
| WLF type | Type 1, 80mm aperture only, uses masks for 65mm, 105mm, 135mm, 180mm, and 250mm |
| Flash shoe | Upper left side, cold. |
| Removable back | Yes, sheet film option. Same mechanism as C33. |
| Multi-exposure | Yes |
| Cable release | Conical thread socket on lens panel frame |
| Tripod screw | 1/4" |
| Other idiosyncrasies | Lenses upgraded to 1/500 second. Introduction of auto-zeroing frame counter. Textured rubber finish. Two-stage lens release. (See section 2.3). Both black and chrome focus knobs appear to have been used. The film transport interlock appears to require the complete travel of the shutter release to clear. At least one example is known with an aluminium ‘chin’ below the lens mount in place of the usual black crackle finish. |
| Dates of manufacture | 4/1965 - 1969? |
| Weight (body) | 1810 |
| Film advance | Crank, partial 360 degree, reverse to rest |
| Shutter cocking | Automatic |
| Shutter releases | Single, side mounted |
| Parallax compensation | Automatic for 80, 105, 135, and 180mm |
| Exposure compensation | As parallax compensation |
| 120/220 capability | 120 only. See 1.12 C33 modifications for 220 conversion. |
| Lens focus scales | 65mm and 80mm in window on right side, 105mm (chrome), 135mm, 180mm on plates fitted to the lens rack on the left side. 1968 and later models may have additional scales for the 55mm and 250mm. A retrofit to accept the 55mm and 250mm lenses was available which differs from the C3/C22 version by not having 65mm and 80mm scales. These are handled by a moving scale in the camera body. |
| Interchangeable screens | No. |
| WLF type | Type 1 |
| Flash shoe | Cold, upper left side |
| Removable back | Yes, sheet film option, two sprung pin latches, as C3 |
| Multi-exposure | Yes |
| Cable release | Conical thread socket on lens panel frame |
| Tripod screw | 1/4" |
| Other idiosyncrasies | Textured rubber covering, change to black focus knobs. The crank should be reverse wound back to the rest position after each frame advance (Compare with C330 models). Evidence from a Mamiya repair manual for the C33 shows that this camera was under aggressive development during 1965/1966. There are a number of detail differences internally. 120-only versions have the film start mark at the upper left of the film gate (as with the C3 and earlier models). 220 versions have the mark at the lower left side. |
| Dates of manufacture | 3/1966 - 1968 (?) |
| Weight (body) | 1480 |
| Film advance | Knob with optional accessory crank, double exposure prevention |
| Shutter cocking | Manual |
| Shutter releases | Single, side mounted |
| Parallax compensation | Scale |
| Exposure compensation | Scale |
| 120/220 capability | Optional 220 back (as C33 1.12) for most cameras without modification |
| Lens focus scales | Main scale on left side of focus rack. Expanded scale for 65mm and 80mm on right side of focus rack. A retrofit to accept the 55mm and 250mm lenses was available. This includes the 65mm and 80mm scale not seen on the C33 version. |
| Interchangeable screens | No |
| WLF type | Type 1, single flap. |
| Flash shoe | Cold, left side of body |
| Removable back | Yes |
| Multi-exposure | Only by direct manipulation of the shutter |
| Cable release | Yes, top right of lens panel frame |
| Tripod screw | 1/4" ? |
| Other idiosyncrasies | Textured rubber covering. Accepts the first model of sheet film back. Some of the earliest C22 cameras were not 220-capable – probably items made prior to March 1966. 120-only versions have the film start mark at the upper left of the film gate (as with the C3 and earlier models). 220 versions have the mark at the lower left side. |
| Dates of manufacture | 4/1968 - ? |
| Weight (body) | 1150 |
| Film advance | Knob, with fold-out crank |
| Shutter cocking | Manual |
| Shutter releases | Single, side, plastic tab, not lockable |
| Parallax compensation | Via focus scale / exposure compensation scale and two reference lines on focusing screen |
| Exposure compensation | Scale (55-65mm, 80mm, 105-135mm, 180-250mm) |
| 120/220 capability | Yes; rotating pressure plate and manual setting of frame counter range |
| Lens focus scales | 55, 65, 80, 105, 135, 180, 250mm. Some examples have both 105mm scales. |
| Interchangeable screens | No |
| WLF type | Type 1 (220 form, with 80mm sportfinder) |
| Flash shoe | Cold, when present. Not all bodies were so equipped. |
| Removable back | No |
| Multi-exposure | Yes |
| Cable release | Conical thread socket on lens panel frame |
| Tripod screw | 1/4" |
| Other idiosyncrasies | 55mm and 250mm lenses introduced, textured rubber covering, automatic film counter reset. May have been sold with the 80mm f3.7. The pressure plate and the frame counter must be set when changing between 120 and 220 film. Camera interior is smooth matt black. See |
| Dates of manufacture | 10/1969 - 1974 |
| Weight (body) | 1465 |
| Film advance | Crank, single 360 degree clockwise action |
| Shutter cocking | Automatic |
| Shutter releases | Two, side (plastic tab) and chin, lockable |
| Parallax compensation | Automatic, all lenses (if 55/65mm correction plate employed) |
| Exposure compensation | As parallax compensation |
| 120/220 capability | Both, rotating pressure plate, frame counter configured automatically |
| Lens focus scales | Hexagonal rod on left side, manually adjustable for focal length, not suitable for 105mm D lenses. Short lenses are read via window in the body, longer lenses read against the front edge of the body. Rod is user interchangeable according to manual. The rod mounting at the front of the camera has a removable (read: frequently lost) black plastic cover. |
| Interchangeable screens | Yes. Matte, 4 degree split, 6 degree split, microprism, cross hair, grid |
| WLF type | Type 1 |
| Flash shoe | Cold, upper left side |
| Removable back | Yes, sheet film option, different fitting from C33 |
| Multi-exposure | Yes |
| Cable release | Chin release provided with conical thread |
| Tripod screw | 3/8" with insert for 1/4". Note that there is supposed to be a small inner locking screw, but it is often missing. |
| Other idiosyncrasies | No focus lock. Film speed reminder dial includes tungsten, daylight, and B/W flag. Early versions may have the focus screen screwed in place, as with the C33. Leatherette finish. A few C330 bodies were produced in black anodised finish in place of the chrome on the lens board frame. Camera interior is hexagonal textured finish. |
| Dates of manufacture | 1972 - 1982 (Yes, this does overlap with the C330 – information from Mamiya America) |
| Weight (body) | 1390 |
| Film advance | Single 360 degree clockwise stroke |
| Shutter cocking | Part of film advance stroke |
| Shutter releases | Two, Side (plastic tab) and chin. The side release incorporates a lock operating on both releases. |
| Parallax compensation | Automatic, all lenses (if 55/65mm correction plate employed) |
| Exposure compensation | As parallax compensation |
| 120/220 capability | Yes, rotating pressure plate |
| Lens focus scales | Hexagonal rod, manually adjusted scales. |
| Interchangeable screens | Yes |
| WLF type | Type 2 |
| Flash shoe | Side, cold |
| Removable back | Yes |
| Multi-exposure | Yes |
| Cable release | Yes |
| Tripod screw | 3/8" with insert for 1/4". Note that there is supposed to be a small inner locking screw, but it is often missing. |
| Other idiosyncrasies | Focus knob lock, textured leatherette finish. Film tab holder introduced, which incorporates the 120/220 setting window. Some models had black side panel rims, and black rims on the film spool retainers. |
| Dates of manufacture | 3/1982 - 1995 (Rarely seen new as late as ‘95 - take this as the official end of manufacture) |
| Weight (body) | 1150 |
| Film advance | Knob without fold-out crank. The knob is larger than that fitted to the C220. |
| Shutter cocking | Manual |
| Shutter releases | Single, side (plastic tab) |
| Parallax compensation | From viewing screen marks via focus scale |
| Exposure compensation | Scale (separate for each focal length) |
| 120/220 capability | Yes, rotating pressure plate, automatic frame counter adjustment |
| Lens focus scales | Chart |
| Interchangeable screens | No |
| WLF type | Type 2, but without sportfinder (Mamiya code H3) |
| Flash shoe | Cold, upper left side |
| Removable back | No |
| Multi-exposure | Yes, control is concentric with winding knob |
| Cable release | Conical thread socket on lens panel frame |
| Tripod screw | Presumed to be 1/4” only. |
| Other idiosyncrasies | Textured leatherette finish. Back release is by pushing in the take-up spool knob after operating the sliding lock. Lens lock control uses engraved 'Lock' and 'Unlock' positions rather than the window used in earlier models. Strap mounts may be lugs in place of slots. Film reminder holder on back. |
| Dates of manufacture | 10/1983 - 1/1994 |
| Weight (body) | 1340 (estimated, manual states 1650 including 80mm f2.8) |
| Film advance | Crank |
| Shutter cocking | Automatic |
| Shutter releases | Two, side (plastic tab) and chin. Shutter lock on body. |
| Parallax compensation | In viewing screen according to focal length set. Applies to all lenses (if 55/65mm correction plate employed). |
| Exposure compensation | As parallax compensation |
| 120/220 capability | Yes, rotating pressure plate |
| Lens focus scales | Hexagonal rod, manually adjusted scales. Should have both 105mm scales. Both feet and metre scales were available, and are user-replaceable according to the C330s manual. Side window for viewing scales for 55, 65, 80mm lenses. |
| Interchangeable screens | Yes, Matte, Matte (wide angle) 4 degree split, 6 degree split, microprism, Cross hair, microprism / split, grid. Not compatible with 330 and 330f screens. |
| WLF type | 2, sports finder with interchangeable masks for 105, 135, 180, 250mm |
| Flash shoe | Cold, upper left side |
| Removable back | Yes. No compatible alternatives are known. |
| Multi-exposure | Yes; control surrounds the crank mounting |
| Cable release | Conical thread socket on chin release |
| Tripod screw | 1/4" only |
| Other idiosyncrasies | Textured leatherette finish. The rear door latch is attached to the body, not the back, with separate lock and release catches (the catch is the upper spool retaining knob). Film tab holder. Focus lock. Film transport is reputed to be modified over earlier models. Some, if not all, have a stud strap mount, rather than the slot used with earlier models. This is similar to the strap lugs on Mamiya RB cameras, and aftermarket straps for that camera may be suitable. Different font and use of lower case on 'Mamiya' title. The focusing knobs are larger than previously, and the focus adapter does not fit. |
Doesn’t exist…unless you know different?
A 220 back for the C33/C22 is known. The only example of a C33 with 220 back that the compiler of this document has examined appeared to be a factory modification with a second frame counter pressure tab. This tab was located beneath an extra cut-away on the upper right rear of the camera body, and a stud was provided on the 220 back to operate it. This has been borne out by examination of a separate 220 back, several 120 capable C33’s, and a C33 manual. This illustration of C33 with 220 back http://grahampatterson.home.comcast.net/~grahampatterson/grahamp/images/mfaq/C33-220.JPG (courtesy of Seth Kantrowitz, New Haven CT. USA) shows the stud and the cut-away at the upper right of the back. The C33 manual states that bodies with serial numbers with an ‘H’ prefix are 220 capable, but others will require modification. This is not the whole story, since at least one ‘H’ serial C33 has been seen which cannot physically accept a 220 back without external modification, even if the internal modifications have been made. A C33 repair manual indicates that there was considerable development of the C33, with many variations in the internal parts, including the film advance mechanism. More use was made of rivets in place of screws, and the gears were made heavier. So it is possible to have C33s with the extended film counter, but no method of using it, or C33s with the modified side panel with the cut-away but no enhanced film advance.
120-only versions have the film start mark at the upper left of the film gate (as with the C3 and earlier models). 220 versions have the mark at the lower left side.
Since the C22 was issued contemporaneously with the C33 modification, it is probable that most C22s were able to use the longer film. Information from a C33 repair manual suggests that very early C22 cameras did not have 220 capability when manufactured. 220 film became available late 1965 and early 1966. This coincides with the introduction of the C22. It is also probable that C33s with 220 capability were of 1966 and later vintage. However, this was a retro-fit option, and cannot be used as a reliable guide.
The Mamiya America web site lists the Mamiya-PF as a custom model for the Japanese police, and dates it to 1962. It also implies that it was fitted with a 105mm lens which is at odds with the example used to compile the following notes. The nameplate reads ‘MAMIYA-PF’. It does not appear to have been made for the export market.
This camera appears to be based on the C2 body (twin chrome focus knobs). At least one example came fitted with an 8cm Mamiya Sekor lens pair in a Seikosha-MX shutter. The body has two focus scales. On the left side is the usual horizontal scale with the exposure compensation/parallax guide. This is marked for the 80mm lens only, in feet, with some Kanji lettering. On the right side below the shutter release on the bellows frame is an angled scale for the 80mm, this time in metres. The design of this scale is possibly unique to this camera. Certainly it does not appear widely used on exported models. The horizontal scale is colour coded at 2’ (blue) and 10’ (red). This could have been to assist users in standardised picture arrangements, but without details of the exact use made of these cameras (‘mug’ shots, crime scene, evidence documentation), it is just speculation. The lock/unlock control is labelled with Kanji.
There were Mamiya twin-lens cameras manufactured in Manaus (northern Brazil) during the 1970’s. The C330f was definitely made, but information is very sparse on lenses and variations. The cameras have a modified ‘chin’ plate that reads “Professional f, Sonora Industrial S/A, Ind. Brasileira”. Brazil had strong trade protections at that time, and local assembly or manufacture would have been attractive. There is no information on whether these cameras were distributed outside Brazil.