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Newly awakened...
I seem to have the habit of taking test images with Sal early in the morning (09.00) when he prematurely wakes up for coffee (and then goes back to sleep again). I don't have to tell you, that he isn't really fond if having his picture taken that early...*grin* Who does ?
However, they are really just test shots - and he happened to look good, as he looked down a bit - not at all like a newly awakened being *snigger*
More experimental 6x6 images
Again, I used the big "HAL 9000" looking Pentax 6x7 SMC 35mm f 4.5 Fisheye lens with the rotating Vertex adapter and the Canon EOS R camera, in order to stitch the four images together - using a defishing profile - and make straight looking "6x6" images.
I really love this. The nice wide angle within a 6x6 classic quadratic frame. It gives me the "Hasselblad" vibe, from old times, you know. Actually, the images I do now with the Pentax 35mm Fisheye, defished - give me a distinct Hasselblad Carl Zeiss T* Distagon 40 mm vibe. (A very wide lens, for the classic 6x6 film format)
I compared a photo i took several years ago with the Mamiya 6 camera & the 50 mm lens. So, yes, the Pentax (de) Fisheyed 6x7 35mm above, works / looks indeed more like a 40 mm lens in the 6x6 format.
Mamiya 6 with Sekor G 50 mm f 4 with films (6x6 format)
When Hasselblad in the 80s. was still a thing among the top photographers around the world, as well photographers who had an arty, creative streak, and everyone else who was into photography and darkroom work. In a world, where all images relied on film negatives, color negatives and color positive slides. All professional work you ever saw back then - was mostly made with color slide film with larger camera, such as Hasselblad 6x6, or even larger - with 4x5" Large format cameras.
During the 80's - a Hasselblad C/M 501 or 503 camera, was very desired by photographers, similar like the desire of using Leica M6 camera with classic Leica-M lenses. Almost a cult phenomena. But yeah, those mechanical cameras were actually very good work horses.
"Well, those were the days... Daisy."
Out of Sight. Out of Mind.
Today, film it is a novelty. Out of sight. Out of Mind.
Tainted by "extreme expensive "out-of-date" type of films rolls, and other obscure films types,quite often grainy as well, with strange looking "vintage" colors... and on top, non linear ways of development how people develop colors film, with large margins in processing disciplines... Anything goes, from best to worst. And all mixed up, upside down.
The world has moved on - and its digital. Basta !
What happens to digital... when things goes dark ?
Until the energy or electricity stops. Then it all gets dark in terms of photography. Kind of strange thought to think... I mean, there is no digital photography to speak of, without a permanent, perfectly flowing grid... Which ain't get any better the more "junk" electricity you put into the grid, via solar and wind farms - which makes our electricity grids far more unstable, and results into many local controlled blackouts - because they have to in order to keep a strict balance in the electrical flow (it has to, otherwise you would get a large blackout and damages).
People never think of that, when they speak about solar and wind farms. That energy is so unstable and unreliable, and often is sold dirt cheap, because it cannot be stored. it needs to be used immediately. But most of the time it is out of alignment with the grid balance.
Scary stuff. when you dig in. And total contradiction of our politicians make-belief speeches about "Green Energy". It is anything but green. It is possibly even more devastating for the environment, than "fossil" fuel sources.
Pentax 67 SMC Fisheye 35mm lens + Fujifilm GFX 50s II ?
I am absolutely sure, that when the same "Rotating Vertex method" is used with the Fujifilm GFX 50s II instead - using the same Pentax Fisheye lens - i will likely run into trouble.
Because the frame will get even wider suddenly - and that means, that distortions at the extreme borders of the lens' native image circle... will become visible was well. It doesn't shoe that much today, when I use the Canon EOS R camera.
So, if I use this lens on a larger sensor camera it becomes extreme wide (!). I would assume, that I have to crop the images a bit, in order to keep things at bay without the borders falling apart. (I don't know yet, I don't have the Fujifilm GFX 50s II camera yet).
Oh well, I'll have to see what works in real life, and what doesn't.
Now
when using the Pentax 6x7 Fisheye 35mm f 4.5 lens with Canon EOS R6, is gives that perfect wide angle. Or better said - it feels just about so right. (This far, using it indoors). Not too extreme wide, yet not too narrow either,
I wonder how the 6x7 lenses will perform ...
It should be really interesting to see, how ALL Pentax 6x7 lenses perform, once mounted on a Fujifilm GFX 50s II camera and it's even larger sensor, utilizing the entire image frame of 6x7 lenses.
I still can't believe that this is possible. I find it so mind boggling. And I am not even sure why i have this deep enthusiasm and passion about it. I guess... I absolutely loved 6x6 and 6x7 photography in the 90s. I really did. I had my Mamiya 330f and then 300s (a 6x6 camera) about everywhere, as i carried in a small leather rucksack... to every place to went to. Even gay cruising places at Freskati *LOL* But not to make pictures of "nude gays".
I had with me, because i always carried around, anywhere. The Mamiya C330 was a wonderful way to do hand held medium format photography, without a tripod instead. Not much shutter vibrations, which made free hand become 6x6 photography more easy.
Mamiya C330 vs Hasselblad C/M 501
Preferring the Mamiya C330 over the Hasselblad - because the latter had a big slapping mirror, inducing micro blur when using 1/125 sec shutter speed).
Which I thought was counterproductive. You use an expensive camera with large negative, a very sharp Carl Zeiss lens, without tripod. Yet at the same time - you spoil sharpness with a clunky mirror mechanism, causing too much vibrations. (There was of course a mirror-up function in the Hasselblad - but when enabled - you couldn't see your image anymore, while taking the shot. That was a bit funky to use it like that. But the only way to get away from the strong mirror slap inducing unsharp images in the finer details.
The Mamiya C330 didn't do that. No mirror slapping. Just a distinct click, giving sharp images at 1/60 sec, and if you were extremely careful, even at 1/30 sec.
So, i truly loved that "twin eyed" Mamiya C330s camera (á lá Rolleiflex 6x6 type of camera). Man, in contrast to the Rolleiflex, you could even switch lenses !
I used that camera almost daily for many years in the 90s (image to the right)
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