Playful, sturdy mechanical Pentax 6x7 lenses
Using Pentax 6x7 lenses is like driving back in time, and using solid, mechanical, almost a bit "clumsy" looking lenses. But they just work, and do an admirable good job. Naturally once you have adapted them on the Fujifilm GFX camera - there is no vignetting to speak of. Which isn't strange, due to the much larger image circle of 6x7 lenses !
I find the sharpness good, even wide open.
Not critically micro sharp when you zoom in close, but with clear definition. It does show outlines of red and green in the (lovely !) background bokeh when using such lenses at wide open aperture - typical for lenses from the 70s and 80s. Once you stop them down let's say 3 stops, it largely disappears, and micro sharpness is good.
I think these lenses can serve me in the studio. (Thinking for BLACK & WHITE Photography mainly). For Color photography, I am not sure. If the lenses are being stopped down - yes.
In Black & White i wouldn't hesitate to use the lenses wide open. This far tonight, I have only tested the Pentax 67 SMC 90 mm ƒ2.8 lens, and the Pentax 6x7 Takumar 105mm ƒ2.4 lens. Very lovely lenses. If I wish to get closer, i use the Pentax No 1 extension ring like I did in the main photo above.
No problem.
Pentax 6x7 Takumar 150mm ƒ2.8
Once the Takumar 150 mm ƒ2.8 [equivalent to 120 mm focal length] is adapted onto the GFX together with the adapter - the whole setup becomes bulky to say the least !!
Just saying.
• Upside Down: Fujifilm GFX 50s II medium format camera + K&F Adapter + No 1 extension ring + Takumar 150mm ƒ 2.8 lens + lens hood
The quality of Pentax 6x7 lenses
are all very similar on a high level. They never truly disappoint. (Except perhaps the Pentax 67 SMC 300/4 perhaps is one of the weakest lenses (but dirt cheap) - while the Pentax 67 SMC M* 300/4 ED IF is really fantastic - even wide open due to the much better optical correction).
In Black & white however, even the dirt cheap Pentax 67 SMC 300 mm ƒ4 lens works well.
Now when you use the Vertex Rotating Method - you have so much resolution that yes, i also use the Pentax 67 lenses in color without hesitation at wide open aperture or slightly stopped down. Because it is like having a digital camera with a 150 MP, 7x7 cm sensor in it... You've got so much resolution that your final image always ends up smaller by a large degree. That's also where the visual benefits come in; increased sharpness, less noise, as well somewhat less visible color errors
Pretty cool.
What about Mamiya Sekor RZ 67 lenses ?
I could think of getting a Mamiya Sekor Z to GFX adapter, adapting my Mamiya RZ 67 lenses to the Fujifilm GFX - but it is not a goal exactly (since I am already on Pentax 67 lenses). There is a Hartblei shift adapter from Ukraine for the Mamiya RZ/RB camera system... but boy, it costs like 1200 €. Not exactly in my interest.
Mamiya RZ Sekor Z lenses are a bit special in regard that you can't focus them without the RZ camera (built-in bellows). So, any adapter requires to be Helicoid based.
With the shift you can not only adapt the Sekor RZ 67 lenses directly to the Fujifilm GFX, but also stitch several shifted images together into larger images - as if you had a larger, digital sensor. Different but in principle similar to the Vertex adapter (which however does not exist for Mamiya RZ/RB lenses).
The Vertex adapter is very easy, because you simply rotate the adapter 90° for every image. Take 4 - and you're done. Then you stitch them together. That's it.
Hasselblad XPan lenses
Could be fun. I only have the Hasselblad 45mm ƒ4 and 90mm ƒ4 lens - and they cover almost the 6x7 format, and are despite being medium format lenses, really small. |
