Better late than never. It took a long time to do another portrait test session with Sal. Last one was on 1 Jan 2025, and now we are writing 17 March. Sal said yesterday afternoon jokingly "You said you would write me an invitation". Not sure if it was a mix of seriousness and joke. Something in between, I guess. Because we never got together at the same time since New Years Eve (for a photo session).
The one tonight was totally spontaneous - after Sal asked me if I need a model. I said yes. But I had no ideas or anything in mind, totally unprepared. So I said later, let's call this a second test session. With Mamiya RZ 67 lenses this time.
I only used the Mamiya APO Sekor Z 210mm ƒ4.5, and the Mamiya Sekor Z 150mm ƒ3.5 lenses.
The reason why no APO lenses were made below 210mm
(The thought henceforth is based on my speculation, and not a fact). I start to understand why there are no APO lenses below 210mm focal length. Simply because it isn't strictly necessary. Once you stop the general Sekor Z lenses lenses down a small notch - they are razor sharp.
The APO lenses Mamiya made later, were basically only for telephoto lenses - where you could see some serious benefit (but mainly only for digital sensor, while on Film, the difference is far less visible, if at all). Reminds me of all the modern ASPH Leica lenses - which when you use film, make almost no difference compared to slightly older NON-ASPH lenses taken with analog film. When I use the Leica Summilux-M 35/1.4 ASPH FLE with film, there was nothing really that made it look specially spectacular...
So, it's mainly a digital sensor thing, which is far more demanding.
I was able to use the APO 210mm lens, at wide open aperture, with absolutely excellent results in terms of sharpness. Simply top notch.
The Sekor Z 150mm/3.5 - very good
Here i used it mainly between ƒ3.5 and 5.6. A slight hint of greenish chromatic aberration was visible in Sal's eyes - but only there. Everywhere else, it wasn't visible.
The resolution at ƒ5.6 was stellar. There was simple nothing to criticize. Every single fabric hair is visible in this photo (enlargement from the above photo)
The APO Sekor Z 210 mm/4.5 - Excellent
Simply stellar - even at wide open aperture (I mainly used it at ƒ4.5 - wide open). No trances of chromatic aberrations visible in Sal's eye. Naturally, the depths of sharpness zone is minimal. Already the upper region of Sal's eyebrows are are out of focus.
Background Flash Projections
The rest in this test photo session was about to figure out how the new Godox DP800 III V works with projection Gobo's
Well, I am surprised how much projection swallows light. A LOT. Even with this 4 times stronger flash at MAX, i still had difficulties to get the background project better visible. I had to decrease the strength of the main studio flashes that were illuminating Sal's face, setting the Godox 800 to the max, in order to get the background projection lighter.
But now the general flash light was weaker, allowing a mere aperture ƒ4.5 (ISO 100) - which was just enough for the APO 210mm lens with ƒ4.5
Otherwise, upping the ISO would been the ticket.
In this photo session I had no direct flash shining into the big Mamiya RZ67 lenses, and together with the compendium I had no problems with flare or residual stray light. But it could change the moment i get more complicated flash settings, aiming towards the camera (or close to it).
Will see how that turns out... in the future.
Glitter/Shiny Brown Fabric
The test photo session also was about to see how the shiny fabric works with flash light. Just to get a hint on the glow, texture etc. (For future sessions with ideas, such as the re-making of the Clown series from the early 90s).
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