Mamiya C330

The Mamiya C330

A gateway to another world

The Mamiya C330, much like the legendary Rolleiflex, is a twin-lens reflex (TLR) medium-format camera, known for its 6×6 square format and unparalleled image quality. But beyond the technical specs, the Mamiya C330 offers an experience unlike any other.

A DISTINCTIVE LOOK AND FEEL

The camera itself is a sight to behold—its large, boxy structure commands attention. When people see you with it, they can’t help but notice. It’s not a camera you see every day, and because of that, people treat it and the person behind it with a certain level of respect.

There’s something about holding this vintage camera, an object from a different era, that shifts the atmosphere. Whether you’re capturing portraits or landscapes, people seem to take you seriously, drawn in by the mystique of this rare, beautifully crafted tool.

None of the photos you will see in this article are processed and it’s the true beauty about them, they don’t need it

While waking on the « Camino de Santiago » AKA: Saint James’s way!

THE MAGIC OF THE VIEWFINDER

One of the most unique features of the Mamiya C330 is its viewfinder, where everything appears reversed. The moment you look down into the camera, it’s as if you’ve stepped into another world. There’s a sense of vertigo, an almost surreal feeling, as you navigate this inverted image. But somehow, it enhances the beauty of the scene before you. Through the viewfinder, life seems more vivid, more magical—like gazing through a window into paradise. For me, the sensation of composing a shot with the Mamiya C330 is like no other. The magnified image, seen through a beautifully clear lens, feels almost more perfect than reality itself.

Parallax and the challenges of TLR Cameras

The parallax effect is another characteristic of TLR cameras like the Mamiya C330. Because there are two lenses—one for viewing and one for taking the photo—what you see through the viewfinder might not be exactly what the camera captures, especially at close distances. This quirk forces you to embrace a certain level of unpredictability, adding to the charm and challenge of using the camera.

“Black and white portrait of a female pilgrim on the Saint-Jacques-de-Compostelle, wearing a backpack and hat, with nature visible in the background.”

The story behind the photos

« While walking as a pilgrim myself for 1,000 km on the Camino de Santiago, I chose to bring my Mamiya C330 along for the journey. I allowed myself to embark on this pilgrimage because I knew I could transform it into a creative endeavor. With this focus, I decided to turn my lens towards the fellow pilgrims I met along the way and their unique stories. Through these spontaneous portraits, I sought to capture not just their faces, but the essence of their personal journeys. »

“Black and white portrait of a pilgrim on the Saint-Jacques-de-Compostelle, wearing a backpack, with nature visible in the background.”

“Black and white portrait of a male pilgrim on the Saint-Jacques-de-Compostelle, wearing a backpack and hat, with nature visible in the background.”

“Color photograph of a homeless man surrounded by pigeons in Paris, some perched on him, taken with a Mamiya camera.”

This portrait of the « man with pigeons » in Paris was taken on one of my first color rolls.

A treasure found in Sydney

“Black and white portrait of a woman taken with a Mamiya C330 on Ilford film, medium format.”

Many years before taking those pilgrims shots I was on a Working Holiday Visa in Australia. I didn’t initially set out to buy a Mamiya C330. In fact, I was originally looking for a Rolleiflex, a classic choice among medium-format enthusiasts. But when I stumbled upon the Mamiya C330 in a small vintage shop in Sydney about twenty years ago, I felt like I had uncovered a hidden treasure. Priced at just 400 Australian dollars, it was significantly cheaper than a Rolleiflex, but no less impressive. Holding it for the first time, I knew it was something special. Love at first touch in a way.

“Black and white portrait taken with a Mamiya C330 on Ilford film, medium format.”

When I shot my first roll of film with it and saw the results, I was completely captivated. The rich detail, the beautiful tones—everything about the images won me over immediately. I’ve never looked back since. It was one of those rare moments where everything aligns perfectly—the camera, the process, and the results.

A slower, more deliberate process

Using the Mamiya C330 is not like shooting with a 35mm camera. It’s a slower, more deliberate process. Even loading the film feels like a ceremony. The film rolls are larger, the mechanics of the camera demand precision, and each shot feels precious. You can’t rush it—you have to take your time, think about your composition, and trust the process. It’s the antithesis of the fast, digital world we live in today. But that’s part of the beauty. It forces you to slow down, to be intentional with each shot.

And because of that, the attention you receive when shooting with this camera is different. People notice you, they respect the craft, and they often give you the space and focus that this kind of camera deserves.

Photoshoot with Mike, Sacré Coeur, Paris

Photos taken on the Wheels and waves festival, south of France.

Marie Uribe