A piece of prose…

In Suburbia

In suburbia the mind restlessly wrestles with paved inertia and the beat of life passes by on a horizon distant and forgotten, nothing left in the heart to feel and nothing left to jump at with zeal; so passion and a little life has flown away across the roof tops and gone away into the miasma of haste and mortar. In suburbia she raises her head a little from the passenger seat and peers through the triplex, eyes as glazed as the pane she looks through, distant and longing for something that fell from her grasp so long ago. And he walks with solemn purpose but with no purpose all at the same time in a semi-detached nation of indifference, indecision and inaction. There is a job and a duty but no longer love nor zest to spring forth the dreams that a long forgotten youth once hinted at with an eye’s caressing glint of eagerness. And the drum goes on, the tarmac marches on, the streetlights turn from blank to sodium orange and the sky turns turtle on the mark with racing headlights searching out a lifetime’s journey of déjà vu. In suburbia he longs for the day to break free and make good on the grand promise of travel and writing the book; but turns to the Valium provided for the masses to sedate any hope of breaking from that nine to five he once swore never to be part of. In suburbia she peers into the mirror hanging jewellery from her neck and bunching her hair back waiting for a day to parade in grandeur and pride; But nothing, but nothing. Not even the clarion call to action or the faint sound of a song seeping through that was once felt so deeply inside. And so it goes in suburbia: the pavement cracks and the creeping cats, the windswept parades and vaunted charade of breaking loose. But in suburbia the ring road has you encircled, with your hard-shouldered love waning and verge-side passion wilting before an ever darkening horizon over suburbia.

Continued from Part 1

Part Two – Twin Lens Quirks and Revelations

So what is the Mamiya C330 or the C series in general? They are Twin Lens Reflex (TLR) cameras which means as the name suggests they have two lenses. One of the lens is the one you view through and the second lower lens is the one that is the taking lens (i.e. with the shutter that exposes the film behind it.)

This leads to a few interesting quirks. The first advantage of a TLR is that you can see virtually what you are taking a picture of as you take it. This has some distinct advantages for long exposures and portraiture where you want to be sure the person/people had their eyes open at the time of exposure. The second advantage is that compared to some medium format systems the Mamiya TLRs are cheaper than other interchangeable lens counterparts like the Bronica ETR, Mamiya 645, Pentax 645 (6×4.5 cameras) and the Bronica SQ and Mamiya 6/7 (6×6 cameras.)

There are some other quirks though which you soon get used to. The first is that the image you see through the waist level finder is horizontally flipped so it takes a while to get used to viewing and moving around with this flipped view. The addition of the pentaprism viewfinder ‘resolves’ this. The second is an issue of parallax that when you don’t have correct viewfinder screen for the wider angle lenses (I don’t) you have to take an educated guess as to what will be cut off from the top and added to the bottom of the frame.

Aside from this and the sheer heft and functional build of the Mamiya C3/33/330 series, there is little down side if you want to shoot medium format square pictures (which you can crop later to a more common rectangular view) by using this system. At this point I will mention the C2/22/220 series which were the model just below the C3/33/330 series. They are generally a bit cheaper but do not have many major differences, the biggest difference is probably the C3 series’ parallax compensation indicator and that they are somewhat heavier. Either way, with a bit of practice and sound understanding of exposure and a head full of ideas you will find either series will see you through on either system.

Most C series Mamiya TLRs will come provided with the standard waist level finder which means you peer down to the viewfinder viewing your composition on a ground glass screen which you can focus with (aided by a flip up magnifier.) The only major issues to concern yourself with are parallax because what you see on the screen comes from the top viewing lens and that being mounted slightly higher than the taking lens means that there is a chance of your frame being cropped at a vital area. That said with aid of the parallax markers you should not find this an issue and you should be able to adjust to this issue ‘by feel’ and experience. Certainly with landscapes on a 55mm lens with the standard viewing screen, I generally include a little more sky than I usually would. It sounds like a very imprecise manner of working and perhaps that is where some of the beauty comes in. The world is somewhat random in its beauty and therefore cold precision sometimes jars with this.

The other issue that will fox you at first is that the view is going to be flipped horizontally as a simple mirror is employed with no prism to reflect the image the ‘right way around’ again as in a SLR. Again over time you soon get over the issue of moving the opposite way to compose and begin to almost overlook the horizontal flip of the image and better still if an image is working flipped the opposite way to how you are envisaging the final result you can be pretty sure the final result is going to look pretty good the ‘right way’ around.

Optics

One thing that is great today is that optical quality of lenses is pretty high on most fronts. Certainly I find the Canon L glass wonderful to work with (if perhaps a little clinical at times) and Leica glass is renowned for its beauty and deadly accuracy, likewise the Voigtlander (Cosina) M mount glass has been excellent too. The Mamiya Sekor glass for the C series TLRs is excellent, some cite the 135mm as sometimes the weak point, but I think you need to try this for yourself as I certainly have no quibbles and likely at the apertures these lenses work at the widest any softness is going to be more a consequence of focussing issues than a bad lens or optical quality. The range includes 55, 65, 80, 105, 135, 180 and 250mm lenses which are more than enough to cover all angles that a TLR can excel with and as I have found out it has made for an excellent landscape camera as well as for portraiture and it is in both of these that the square aspect has been something of a revelation which I will discuss in the third and final part of this review.