Jonesing For a Mamiya C33

Hugo Studios Mamiya C2 New Black Skin 1 by Nokton48, on Flickr

Hugo Studios Mamiya C2 New Black Skin 2 by Nokton48, on Flickr

Here is the new to me Black Mamiyaflex C2 Skin from Hugo Studios. Really freshens up the camera. This will be enjoyable to take outside.

Bought a 105mm "D" lens which wouldn't mount on the C2 or the C33's. So back it went. Just ordered a Super 180mm so keeping with the best modern lenses on the older bodies. This camera was introduced in 1958 I think, so we are the same age. It's holding up well for 63.
 
Terror and Holy Terror by Nokton48, on Flickr

"The Boys" visited my studio back then. I got this -one- shot. They behaved for one minute, and would do what I say. After the first "pop" they were all over the place, and then you have to chase them down. This is a 20x24 canvas print that has been hanging for nearly thirty years. Mamiya C33 105mm Sekor Chimera Softboxes Tim Kelly lighting inspiration Broncolor Impact strobes.

I remember I was the grand prize winner at the Professional Photographers of Ohio raffle. I won the muslin background and I used it quite a bit. Still have it but haven't unwrapped it yet
 
Mamiya Paramender Wow Love It by Nokton48, on Flickr

Just received a Paramender from Japan. Surprisingly solid and Yes! a very precise tool. Love it
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Nokton48 said:
Mamiya Paramender Wow Love It by Nokton48, on Flickr

Just received a Paramender from Japan. Surprisingly solid and Yes! a very precise tool. Love it
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I have a Paramender for my Mamiyas and a Minolta Paradjuster for my Autocords.

In my opinion, this is a must-have accessory for any serious TLR shooter.

I once did a test of stacked Rolleinar IIs, on both viewing and taking lenses of an Autocord, with the aid of a Paradjuster. The results were actually quite a bit sharper than I had expected. That being the case, I am more likely to use a Mamiya, with its built-in lens extension, for close-ups.

- Murray
 
Funny that this thread should re-surface today, as the day's mail just brought me my "new" C3 with a 105, with a 55 on its way. It's the perfect complement to my 6x6 SLR (Hassie) and 6x6 rangefinder (Iskra). I tried Mamiya TLRs back in the eighties and never got on with them, but, on recent reflection, realized that much of what I considered their drawbacks back then are now assets. For under $500.00, it's worth another try! I've also been following a serious weightlifting regimen in anticipation of the C3.
 
Yahoo! Shanghai 220 film has arrived by Nokton48, on Flickr


This arrived yesterday. I'm going to test this stuff in my newly CLA'ed Mamiya C22 with 220 Back. Developer will be D23 1:1 as I remember that worked well with 120 Shanghai 100. An old school emulsion, so just water, metol, and sulphite. Fixer will be fresh TF-4

Just need to finish the roll of PanF+ that's in the C22
 
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​6x6 TLR Shooting Bank by Nokton48, on Flickr

Been running this stuff through Camtronics and at this point all of these are good shooters. The idea here, is to have a bank of cameras at the ready, loaded with different speeds and types of B&W film. I like K2 yellow filters as you can see, I need a pair of slimline (preferably Mamiya C) yellow filters for the super 180.

The C22 is cranking through my first roll of 220 Shanghai 100 new fresh emulsion so the jury is still out on this stuff. I bought another ten rolls to REALLY give it a good go.

Lenses are: 80mm, 105DS, 135mm Blue Dot and Super 180.
 
One of the great things about using Mamiya TLRs as your main system is that you can buy a really nice body for less than the price of a Hasselblad back. It makes it almost painless to have multiple film types at the ready.
I've "only" two bodies, a C3 and a C22, for color transparency and B&W. Along with a 105mm and a 55mm, they max out my photo backpack with a little room left for water and a snack. Oddly, the combination is no more bulky or heavy than my Hassie with an 80, a 55, and a second back. I think they're less fragile, and less likely to induce the paranoia I feel about taking the Hassie into unfriendly natural environments.
 
Retro-Grouch said:
One of the great things about using Mamiya TLRs as your main system is that you can buy a really nice body for less than the price of a Hasselblad back. It makes it almost painless to have multiple film types at the ready.
a second back. I think they're less fragile, and less likely to induce the paranoia I feel about taking the Hassie into unfriendly natural environments.
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Totally agree with the above. My latest C33 I bought from Adorama on Ebay for Fifty Bucks. Mac at Camtronics carefully went over it, and told me yesterday that I dodged a bullet on this one! Totally ready to start using.The light seals on the 120 back look like they were done recently and look excellent and newish
 
There's practically nothing to go wrong on these bodies, particularly the older ones. They're almost comically primitive! Funny you should mention light seals; as I type, the C3 is sitting beside me, and new seals are on the agenda for later today. It's my stuck-inside, blizzard project (five inches and still falling fast). I anticipate a very simple operation, made even easier by the removable back.
 
Nokton48 said:
The cleaner you get it the better. I use a jeweler's flat screwdriver to dig at the old rotten foam
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Oh, I'm all too familiar with seal replacement! I don't care to use a screwdriver, though, because of the risk of scratching. My weapon of choice is a plastic pipette such as is used on the nozzle of Dust-Off or similar products. Cut it at a 45 degree angle and your good to go!
Seal replacement is a skill that everyone should learn who is a sucker for old cameras. You can purchase foam kits specific to your camera, or just lay in a supply of various lengths and thicknesses, or buy the foam in sheets. As Nokton48 says, the cleaner, the better. My OCD comes in handy for these jobs!
You'll save a fortune over having a repair person do the work, and you'll have a sense of accomplishment to boot.
My C3 foam replacement took about 40 minutes, and was the easiest I've ever done.
 
Nokton48 said:
Been running this stuff through Camtronics and at this point all of these are good shooters. The idea here, is to have a bank of cameras at the ready, loaded with different speeds and types of B&W film. I like K2 yellow filters as you can see, I need a pair of slimline (preferably Mamiya C) yellow filters for the super 180 as you can see. ...
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Nokton48, I have a rectangular lens hood that covers both taking- and viewing-lenses for the 180 Super.

This lens hood has a thread of its own in front of the taking lens, which accepts a standard 48mm filter (meaning it doesn't require a filter that is thin or special in any other way).

A 48mm filter is a bit of an odd size, but they are out there and I have a complete set of filters, for B&W and color, to use with my 180 Super.

It might be easier to find this lens hood on eBay than it would be to find the special Mamiya fitted K2 filters in question.
At least it gives you another option.

- Murray
 
Each body has a different lens and film. Right now, finishing first roll of 220 Shanghai 100 in the C22, Pan F+ in C33 #1, EFKE PL100 in C33 #2, FP4+ in the Autocord, and HP5+ in the Mamiflex. The lenses get switched around of course depending on the nature of what I am doing and my plans.

Yesterday I called David Maheu (had a great conversation!) and ordered three georgeous arty 8x8 foot Tim Kelly signature backgrounds. And I have unearthed and are working the wrinkles out of a couple of really big painted OMNI muslins I used back in the 80s. Shortly I will be redoing my background roller system and it is going to get a big upgrade.
 
Studio shot thirty years ago C33 Fuji 400 by Nokton48, on Flickr

My standard portrait setup from thirty years ago. A Chimera 4x6 foot soft box ninety degrees to the set, acting as a fill light. Main light is Chimera 3x4 foot soft box set at 45 degrees, one stop brighter than the fill. A reflective white 4x8 foot foam core panel set at 45 right. This is a handheld grab shot with my trusty Mamiya C33 with 105mm lens. Fuji 400 220 custom 8x10 machine print from my pro lab.

Muslin background is an OMNI and my preferred higher key muslin. I was the grand prize raffle winner at the Professional Photographers of Ohio trade show, and this background was my prize. Used it quite a bit. Usually I would find that the first exposure was often the best. Not always but often. I love the little curled finger, very fresh and spontaneous
 
Back in the 1970s my C330 was equipped with the 55 and 135mm lenses. Very versatile.
Concurrently I had a Rolleiflex 3.5f.
Cranking the smooth film advance on the Rollei was like cutting through room temperature butter.
On the 330 it was like flipping the "on switch" of a cement mixer. Felt and sounded like it would break with each exposure: But it never did.
In their own ways, both cameras were A+.
 
I was at a camera auction a couple of years ago, and I scrutinized at least a dozen Rolleis that were there "as-is". Every one of them had some type of issue due to age, etc. A couple of these new to me Mamiyas also had smoothness issues, but are fine now that MAC at Camtronics have gone over them. At the auction I ended up buying my Minolta Autocord for $70 and Karl Bryant overhauled it and it's really like new. But I have nothing against Rolleis. I have a humungeous Hasselblad collection, four bodies and every lens from 30mm to 350mm. It's just hard for me to get excited about Rolleis (no offense intended to anyone here).
 
Nokton48 said:
I was at a camera auction a couple of years ago, and I scrutinized at least a dozen Rolleis that were there "as-is". Every one of them had some type of issue due to age, etc. A couple of these new to me Mamiyas also had smoothness issues, but are fine now that MAC at Camtronics have gone over them. At the auction I ended up buying my Minolta Autocord for $70 and Karl Bryant overhauled it and it's really like new. But I have nothing against Rolleis. I have a humungeous Hasselblad collection, four bodies and every lens from 30mm to 350mm. It's just hard for me to get excited about Rolleis (no offense intended to anyone here).
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Rolleis are like 'blads or Leicas. You just want one, because they're so damn beautiful! I've owned all three, and still have the Hasselblads and the Leicas. But now I reach for my Nikon rangefinders more often than the Leicas, and I think I'll probably become the same way with the Mamiyas vs. the 'blads. I don't feel comfortable taking out a camera that's worth a small fortune, and at this point in my photographic "career", I just want a camera that gets the job done. The Hasselblads and the Leicas were purchased back when they represented a reasonable investment in equipment, but, at current prices, I wouldn't even consider purchasing them. All hail the cheap, proletarian Mamiyas!
 
OK I have my first roll of Shanghei 100 220 hanging and to me at the moment looks like an A1+ success. Mamiya C22 with 220 Back did a great job metering the 220 and those old Mamy lenses are sharp. Studio stuff looks good as do some on camera flash work. No scratches at all I can see so far. But to be super careful after photoflo-ing, I hung it up without wiping it with my fingers.

When you get in the dark with this sufff it unrolls like under spring pressure. No harm done but WOW.

Negs look really good to me
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Have like twelve more 220 rolls to go next. A24 Hasselblad roll nearly gone through. Working on itt

Film loaded onto 220 JOBO Reels and into a Multitank 5. Spun on a Unicolor Uniroller, D23 1:1 12 minutes. I know that's a little long but I like beefy negatives.​

Flikr photos here: Nokton48 | Flickr
 
SONY DSC by Nokton48, on Flickr

Mamiya C33 #1 with Super 180mm dual K2's C Wheel now back from Mac at Camtronics. Now all best possible. Do need the black aperture tab if anyone here has one. Bought three 120 rolls of Ilford 100 not familiar but t-grained do like TMAX100 in 120. Background digital file from Tim Layton printed at Costco
 
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