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the Mamiya 140Macro is an interesting lens. I have the RB version, not sure if optically similar as your RZ. The optics are certainly superb, and when mounted on the RB is nowhere near macro, it needs extension tubes. Of course on a view camera, this limitation is not there. I tried it on my Sinar 4x5, and the image circle is enormous, easily covering the entire large format film.A first post from me in this fascinating thread. We had some beautiful spring weather last week, and headed up into the Hakatere basin on the eastern side of New Zealand's Southern Alps where a lot of scenes from Lord of the Rings were shot. The setup shot taken by my wife with her tablet, the main event was shot as a two-image flat stitched panorama with a Mamiya RZ 140 macro and Fujifilm GFX 50SII, coupled together with an F-Universalis.
I bought the 140Macro to provide a bit more working distance for macro with my F-Universalis. For macro, it is very close in performance at 1:2 to my Schneider ApoComponon HM90, which I had previously regarded as my best macro option, with both of these clearly ahead of the Olympus bellows macro lenses (80 and 135mm) that I had used previously. However, it has also surprised me as an option for landscape, provided that the floating element is set to infinity. And as you say, the coverage is immense - I can use the full 25mm of lateral shift on my F-Universalis without any appreciable drop in resolution or illumination.the Mamiya 140Macro is an interesting lens. I have the RB version, not sure if optically similar as your RZ. The optics are certainly superb, and when mounted on the RB is nowhere near macro, it needs extension tubes. Of course on a view camera, this limitation is not there. I tried it on my Sinar 4x5, and the image circle is enormous, easily covering the entire large format film.
Used to have an 8 x 10 P2. Always wanted to try a P3 with digital, but the problem here is not the amount of tilt the camera can do. Really, this is an abnormal situation and it's all my fault.for the shots like that, Sinar cameras are made for. You can tilt front and rear standards by more than 60 degrees each in any direction you want. Adjusting these cameras for Scheimpflug principle is a breeze. You could easily shoot the scene above with everything in sharp focus, including the ink tank, without any stacking.