This is the other portrait, made with the APO 210mm lens, at wide open aperture ƒ4.5

The whole portrait series wasn't anything special - and i think it had to do with that my heart wasn't really into it. I mean hours before going to work, I didn't expect that Sal would "invite" with a suggestion to make some portraits. I didn't say no, because I do wanted to make more tests.

The special setup I created in the past months in order to be able to use bulky Mamiya RZ67 lenses - mounted with two lens collars on rail together with a helicoid focus adapter mounted to the Fujifilm GFX camera. - worked

And it works exceptionally well!

More for indoor than outdoors ?

I know it is a very heavy set-up. It must be something like 5+ kilo together with the tripod (i should weight that thing, in order to know exactly *LOL*). Not really that much made for outdoor use, I feel. But for portraits in the studio, plus the ability to shift quickly and easily between horizontal and vertical position... makes it a rather powerful tool. Better and easier than I'd expected.

Glad, that I was stubborn and didn't give up.

Vertex Method, and/or just native Fuji GF lenses

I think for outdoor "Mediumformat photography", I will instead use the Vertex method together with Pentax 67 lenses. That is such a lovely, easy setup ! (except perhaps that stitching in post processing, is at times be a bit fiddling later on). But when it works, you've got a "native" 7x7cm equivalent sensor, using the entire, real image circle of 6x7 lenses.

I think that is cool.

Of course I also use plain lenses made for Fujifilm GFX, as well few fullframe lenses that are working well, too. Lenses like Tamron SP 45mm ƒ1.8 VC (EF-mount adapted to GFX).

No need to make things more difficult than necessary.

The Idea with Mamiya RZ67 lenses on GFX

The whole idea with Mamiya RZ67 lenses was simply a strong, old dream, a desire, wanting to use them, given that I've lived with them for 40 years and appreciated their high quality. I do not regret that. But with the current setup - it isn't something you easily go out with and do outdoor photography. When you can do it more easily with other, lighter set-ups. Either native Fuji GF lenses, or other glass that truly covers the larger GFX sensor.

And with the Vertex method, I use instead Pentax 6x7 lenses, native Fujifilm GF lenses and a couple good fullframe lenses that work particularly well with the GFX.

That's it.

Oh, speaking of Fotodiox adapters

FotodioX other adapters seem to be much more solid ! I mean when compared to the miserably failed Mamiya RZ67-GFX adapter with its two tiny tiny, soft little screws. I do not understand, that the design of the latter was made so incredibly inferior ? Given that their other adapters show much heavier, larger and more solid made screws holding adapter body to the adapter foot.

Why was this omitted with the RZ67/RB67 adapters ? (all of them, no matter what camera mount). I mean, if there are any lenses that heavy and large: It is Mamiya RZ67 glass, for heavens sake *!

So, who designed that adapter ?

A clown ?

In the future ?

I am sure, I'll have a couple more Fujifilm GF lenses in the future.

Maybe the Fuji GF 80mm ƒ1.7, and Fuji GF 55ƒ1.7 - and perhaps the Fuji GF 250/5.6 - who knows. (The Fujifilm GF 100-200 ƒ5.6 seem interesting - but, what the heck is wrong with the front part snapping off ?!?) Several people have reported that issue in the field.

They are expensive lenses - albeit not forbidden expensive. But these lenses have no priority on my list for now.

Good for me to know now is - that the Mamiya RZ67 lenses work for very well in the photo studio. I am very pleased. It is fun and a bit unusual to use these lenses, and barely anyone uses them on digital cameras today.

Those on GFX 100 cameras

Those who are working with a Fujifilm GFX 100 (102 MP) today - well they don't truly need other than the native GF lenses - giving them best bang for the buck. It's that simple. Given the extreme resolution those sensors have - there aren't any other lenses that can mach that quality.

If one still adapts vintage lenses - then it is (most likely) for their special image character.

In that regard, I often find the Pentax SMC 105mm ƒ2.4 to be very special. Particularly when using it in black & white photography, it really does have a special "draw" which is so typical for "6x6 / 6x7 mediumformat" looks. Just beautiful.

The Mitakon 65mm ƒ1.4 also comes close (and i assume similar with the Mitakon 80mm ƒ1.6 lens). But they are tricky in terms of hitting the exact focus when used wide open. The Mitakon 65mm ƒ1.4 looks very much, or perhaps closest to what the Pentax 67 SMC 105mm ƒ2.4 does on 6x7 film negatives.

It is really interesting how close the image character resemble each other.

Studio test No 3

Here i would like to test the Mamiya Sekor • Z 180mm ƒ4.5, • Z 110mm ƒ2.8, the • Z 90mmƒ3.5 and the • Z 65mm ƒ4 - in order to see how they perform (with a wider setting), as well testing them if there are any stray light issues when using studio flashes.

I don't mix lenses in the studio (or preferably not) - because that would be too much hassle between various mounts, tripod-plates, and various set-ups. Each camera-lens system requires little different adapter and mounting-plates. Other lenses like the Sigma ART 105mm have their own lens collar (allowing you to turn around the camera between vertical and horizontal position).

So, there are still plenty of test to do, in order to see when everything boils down - which lenses are preferred in the photo studio (and work smooth).

General observation

My overall first impression in general is, that the Mamiya Sekor Z lenses are playing at a slightly higher level of optical performance; in terms of chromatic aberration they show less compared to Pentax 6x7 lenses. Both of course get better in that regard, once you stop them down to ƒ5.6. In term of sharpness they are both very sharp (stopped down)

But the Pentax 67 lenses have generally more aberrations (green/red) when used at wide open aperture.