A good friend from my wife's aikido class. Her nickname is "Joy" because she is an ambulent antidepressent. However, I was going for a "power" look/pose, thus the expression (she had to work at it). This with the trusty Verito at f/8.  I love this lens.

George

I repositioned the lightbulbs again for this shot, and moved the camera yet again, why....just looked right.  After getting the bulbs 'about right', I had to use my thumbs to push down right/left against the magnifier  behind the front 2 bulbs to get the bulbs level to the reflector, and a pencil to stick between the front 2 bulbs at the front to lower/raise the bulbs.

The Petzval is a barrel lens and is dedicated to my Graflex Pacemaker w/its shutter.  The shutter speeds available on either side of what needed to be a proper exposure were either too long or too short and I had to resort to a felt lined lenscap held over the lens to get this.   This is the result of 4 attempts/exposures w/the lens cap, and this exposure 'felt' like 1/20-1/25 of a sec.    I believe this Petzval has a FL of around 8-10 inches, and is around F3-4.5 wideopen.

Bet. the Euryscop and this shot, I prefer this one.  The Petzval provides a 'double whammy' of transitioning from best plane of focus to the background, and a transition of sharp to soft from the center of the frame outward, w/effects no pair of stockings/vaseline on a filter/softar is going to duplicate.  

The Petzval was made to do this particular shot, the Euryscop shot has a lot of value for me, but this shot talks to me. 

This series is over, I'm now sick of looking at lightbulbs, but I tell you, after looking at them long enough, you see distinct differences between 'em, I hope that doens't sound crazy.

I resolved to end this study w/straight B&W, and that as opposed to shooting in color and then running a shot through Photoshop and hitting the desat button.  These last 2 shots were by Fuji 100B45 which turns out to be the 'spittin image' of the larger format Polaroid 804 format, and maybe a little sharper.

The situation w/Polaroid gone and the availability of this film, is disgusting, everybody claimed no one shot w/Polaroid anymore, and of course this BS assumption is being used to Gin up the price of this film which is now an obscene $35.00 a box.   I'd tried to wait to secure this film on ebay at a better price to no avail and gave up resorting to Freestyle.

Polaroid 804 and now Fuji 100B45 will never replace HP5/FP4, but they do have a softer pallette that provides an incentive to pair these films up w/a classic lens.

I went 'whole hog' w/my softest glass so far and decided to shoot these last shots w/glass from the other end, thus the image w/my Voigtlander Euryscop, and lastly my Petzval.

I left the lighting as is for this shot, but moved the camera closer to point down at what's inside the reflector after moving the repositioning the bulbs for effect.   

This was @ wideopen which for the Euryscop is around F7 I believe, and the Universal Ilex #5 shutter set to 1/5 of a sec. 

This is the flare king, that is, it's able to produce the most flare AND produce something inside all that flare that's crisp/sharp/sharp looking/the illusion of sharpness of any lens anywhere in the Galaxy. 

This lighting scheme and this exposure was the limit for the Series III, and was at F6,  the shutter time 'felt' like 1/10th of a second.   It was impossible to get anything opening this lens up to F4.5 using the Studio shutter, everything I got was a blown out mess.   That is how drastic this lens changes in only one stop as it gets to wideopen.

This is at same exposure and shutter times as the Pinkham VQ shot.