With the larger negative size the field of view of medium format lenses is much wider than the field of view with the same focal length on 35mm. To make a comparison with 35mm film SLR fields of view multiply the focal length by 0.48. For instance, 90mm is ~44mm in 35 film SLR terms.

I do not see a consensus on which lens series is the best. The non-C single anti-reflective coating lenses seem to be the “worst”, but the optical difference between the K/L and C lenses is not so clear. Some commentators have indicated that the C series had poor quality control, whereas the K/L lenses–being optically the same–are better by virtue of better quality control.


Single anti-reflective coated lenses released in 1970 with the original Pro


These lenses are optically identical to the original lenses, but have a newer barrel design (NB) that matches the later C lenses. They only were produced briefly and are comparatively rare on the market.


C, apparently, stands for “Design Improvement”. These lenses are multi-coated. Released with the Pro-S in 1974. Has a “C” on the front name ring.


Most recent. These lenses are, apparently, a slightly newer design with better coatings than the C lenses. The K/L is a code to indicate which bodies the lenses are compatible with. K indicates the Pro/Pro-S bodies and L indicates the Pro-SD bodies. KL lenses all shipped with an adapter attached to the lens so that they can be mounted to Pro-SD bodies. This adapter should be removed to mount to Pro/Pro-S bodies. This adapter is a fairly simple rubber O-ring for light sealing rather than for any mechanical reason. I, personally, have not had any issues using C lenses on my Pro-SD body without the small adapter ring.

Has a “K/L” on front of the barrel.

L lenses

Compatible with Pro-SD *only*; these are the 75mm Shift lens and 500mm APO only.


Apochromatically corrected lenses. Sometimes known as A lens. More expensive, heavier, but chromatic aberrations are better corrected.

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Length (mm) Maximum Aperture Generation Angle of View (in degrees) Weight (g) Details Notes
37 f4.5 C 180 1240 Details fisheye distortion
50 f4.5 C 82 960 More details
50 f4.5 Original 82 960 Details
65 f4.5 C 0
65 f4.5 Original 68 840 Details
65 f4 K/L 68 1070 Details This is a new, different optical design than the earlier original and C 65mm lenses
75 f3.5 K/L 61 980 Details
75 f4.5 S/L 61 1700 Details
90 f3.8 C 52 0
90 f3.5 K/L 52 960 More details
90 f3.8 NB 52 0
90 f3.8 Original 52 705 Details
100 f5.2 C 47 1660 Details 100mm-200mm Zoom
127 f3.8 C 39 0
127 f3.8 Original 38 655 Details
127 f3.5 K/L 39 780 More details
140 f4.5 C 36 800 Details Macro lenses with floating element to adjust plane of focus curvature.
150 f3.5 K/L 33 840 Details
150 f4 C 33 790 Details Soft focus lens
180 f4.5 K/L 28 900 More details
180 f4.5 C 28 0 Details
180 f4.5 Original 28 875 Details
210 f4.5 APO/L 24 1020 More details Apochromatic correction
250 f4.5 Original 20 1310 Details
250 f4.5 APO/L 21 1370 More details Apochromatic correction
250 f4.5 K/L 20 1130 More details
250 f4.5 C 21 1020 Details
350 f5.6 APO/L 15 1440 Details
360 f6.3 Original 14 1360 Details
360 f6.3 C 14 1040 Details
360 F6 K/L ? 0 Details
500 f8 C 10 1980 Details
500 f6 APO/L 10 2360 Details

Lens Accesories

Auto Extension Tubes

Two extension tubes–for use in close up photography–were produced, the No. 1 (45mm) and No. 2 (82mm).

Extension tubes were produced for the Pro and Pro-S and a different model for the Pro-SD. The Pro-SD extension tubes fit the larger lens throat of the Pro-SD body. Because of this the Pro-SD extension tubes do not fit on Pro or Pro-S bodies.


Mamiya Corporate Website

DiSante, T. (1981). How to Select & Use Medium-Format Cameras. HP photobooks. Tucson, AZ: H.P. Books.

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