MAMIYA APO-SEKOR Z 250/4.5

[jbcrane_gallery]

<p>So this isn't a question - more of a thank you. Recently I picked up the above lens (from KEH) and had my first outing with it this past weekend. It's an extraordinary lens. Contrast, clarity, sharpness are all there. No complaints. It is going to take a bit to develop my ability to see in this focal length, but I'm up for the challenge.<br /> Here's a shot from about 20 feet away, made on Ektar, scanned with the V500 @ 2400. It's just crazy how much detail there is in this frame and this little image doesn't come close to doing it justice - but...<br /> <img src="http://jbcrane.zenfolio.com/img/s3/v24/p10300693-3.jpg" alt="" /><br /> (you can see it a little larger here: http://www.flickr.com/photos/jbcrane/5406968658/)<br /> Thanks to all who encouraged me to spend the extra dough on the APO over the standard 250W. It was well worth it.<br /> John B. Crane</p>

[andre_noble5]

<p>Have you shot mirror up yet to set what the lens is capable of?</p>

[jbcrane_gallery]

<p>Hi Andre-<br>

I usually shoot mirror-up, as was this. I also have purchased the magnifier for the AEII and shot this at f8, so I'm really trying to get all I can out of each exposure. This image is incredibly sharp at full resolution... these smaller versions weren't exactly optimized for web presentation... how do they look to you? If soft, do you have something you'd consider sharp I can use as reference? Thanks very much!<br>

John B. Crane</p>

[andre_noble5]

<p>I was just curious, John. Lenses like these cannot be served justly over web images. Take a 10x lopuoe to the negatives, then you can see what these lenses are capable of.</p>

<p>I have the RB 250 APO. These APO lenses are film lenses <strong>extraordinaire. </strong>I am glad you got one. Enjoy.<strong><br /></strong></p>

[jbcrane_gallery]

<p>Thanks Andre. I'll agree completely. One of the reasons I moved to MF film in the first place is the extraordinary level of detail potential while still allowing reasonable shooting/portability as compared to a view camera set up (not trying to start an argument to any view camera shooters unencumbered by the system...). So any step I take deeper into the system needs to be in line with this objective. I'll admit the 250W is attractive because of the low price, and I'm sure it's a fine lens. But if there's "something better," I'll take it ;-). That said, honing my technique for this fine piece of equipment seems like a good use of time. I'm looking at the 350 next and the 50ULD at some point. And of course, that 10X loupe. My 8X is lacking and in need of replacement. Thanks again for your comments.<br>

John B. Crane</p>

<p>p.s. here's another one with the 250APO that just left me muttering something like, "wowww..."<br>

every tiny rib on every bend in each ribbon is razor sharp, as is every minute hair on each weed... it's really something.<br>

<img src="http://jbcrane.zenfolio.com/img/s3/v23/p953932433-3.jpg" alt="" /></p>

[andre_noble5]

<p>Very nice color.</p>

<p>Don't forget the 210 APO! As for the 50 ULD, buy a <strong>brand new</strong> one from KEH. They have many (29) brand new 50 ULD's in stock, so I still expect a gradual price drop.</p>

<p>BTW, get one of these Pentax zoom loupes when they come back in stock at B&H http://www.bhphotovideo.com/c/product/158288-REG/Pentax_60053_5_11x_Zoom_Photo_Loupe.html<br />I have one, and its perfect for evaluating lens performance on film. Pricewise, great bang for the buck!</p>

[ed_sawyer]

<p>Congrats John! Nice work.<br>

Yes, the 250 APO is a stunning lens. All the APOs are really. The 50 ULD as mentioned is also a fantastic lens. If you dont' have the 65 L/A, I'd recommend that one too, it's as good as the APOs, believe it or not - uber sharp. <br>

-Ed</p>

[desmond_kidman]

<p>Glad to see these lenses getting attention. It's almost like they are best kept secrets! I've seen few posts on them, but have championed them since trying the Apos. In a side by side comparison, same propack of film, I shot the RZ Apo against the Zeiss 250 Superachromat. In terms of color, detail, contrast, I was shocked the Mamiya was the equal, really. In very difficult lighting the Zeiss had slightly better flare contol.<br>

The 50 ULD is amazing too, as was stated above. The better, later RZ lenses are as good as anything out there in medium format SLR land. Most medium format lenses don't come close to this level. </p>

[desmond_kidman]

<p>Glad to see these lenses getting attention. It's almost like they are best kept secrets! I've seen few posts on them, but have championed them since trying the Apos. In a side by side comparison, same propack of film, I shot the RZ Apo against the Zeiss 250 Superachromat. In terms of color, detail, contrast, I was shocked the Mamiya was the equal, really. In very difficult lighting the Zeiss had slightly better flare control.<br>

The 50 ULD is amazing too, as was stated above. The better, later RZ lenses are as good as anything out there in medium format SLR land. Most medium format lenses don't come close to this level. </p>

[jbcrane_gallery]

<p>Thank you Ed. I have the 65 L/A and am in complete agreement. I've been amazed at what that lens is capable of - especially with the correct use of the floating element. I've said it before and I'll say it again: to have such superior quality glass available at such low prices is such a wonderful thing after having bought so much digital kit over the past few years. I'm having a ball ;-)... The Mamiya is all I want to shoot now. We're heading out in a week to shoot some ice climbing and I'm trying to work the RZ into the pack... don't know if it'll make the cut (the D3S is pretty compelling for this kind of work), but that's immediately where I go... "wouldn't it be cool to shoot the RZ like that?"<br>

Thanks again,<br>

John B. Crane</p>

[jbcrane_gallery]

<p>Hi Desmond, It's fun to have no limits imposed by the glass. Having come up through the ranks of art school and done a good bit of painting, I've always equated a lens and its unique properties to that of unique and specific paint brushes; each one contributing a little something to the influence of the photograph. It's a joy to "get to know" the characteristics of a superior addition to the line up.<br>

Thanks for your comments,<br>

John B. Crane</p>

[ed_sawyer]

<p>John-<br>

Good to hear you have the 65 L/A also. Indeed, using the floating element correctly leads to amazing sharpness, well into the deepest corners of the frame.<br>

I too enjoy taking and shooting the RZ as my primary camera whenever possible. It's a fun beast to bring out and surprise people with it (most non-photo-geeks have never seen anything like it. ;-). I find it really versatile and take it anywhere and everywhere. It's not bad at all for hand-held shooting either, that's how I use it nearly all the time. Even with the big APOs it's doable.<br>

The used prices on the APO and other RZ lenses is almost criminally cheap. These were all $2-4k+ lenses when new a few years ago, now they can be had for almost pennies on the dollar, really. Like 10% of original cost sometimes. Can't beat that! Esp. compared to EOS and other 35mm lenses. </p>

<p>-Ed</p>