Mamiya-Sekor Z 150mm F/3.5 W

Short telephoto prime lens • Film era • Discontinued


Model history (2)

Mamiya-Sekor Z 150mm F/3.5 WA6 - 40.817m⌀77 1988 
Mamiya K/L 150mm F/3.5 LA6 - 40.82m⌀77

Features highlight



Production details
Production status: Discontinued
Original name:MAMIYA-SEKOR Z f=150mm 1:3.5 W
System:Mamiya RZ67 (1982)
Optical design
Focal length:150mm
Maximum format:Medium format 6x7
Mount and Flange focal distance:Mamiya RZ67 [104mm]
Diagonal angle of view:33.4° (Medium format)
Lens construction:6 elements in 4 groups
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:Aperture ring (Manual settings only)
Number of blades:<No data>
Built-in leaf shutter
Type:Electronically controlled Seiko #1
Speeds:8 - 1/400 + T, B
Closest focusing distance:0.817m
Maximum magnification:1:3.23 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:None; focusing from the camera
Physical characteristics
Maximum diameter x Length:⌀97.2×83mm
Filters:Screw-type 77mm
Lens hood:Screw-type round
Teleconverters:Mamiya RZ67 Teleconverter 1.4X → 210mm F/4.9
Sources of data
1. Mamiya RZ67 Professional system accessories chart.
2. Mamiya RZ67 Pro II major accessories booklet.
3. Mamiya-Sekor Z interchangeable lenses for RZ67 Professional instructions.
4. Mamiya RZ67 Professional II booklet (PUB. 2212).
5. Mamiya RZ67 Professional IID booklet (PUB. 2212).
6. Mamiya medium format cameras booklet.
7. Mamiya medium format cameras booklet (PUB. 9012).
8. Mamiya medium format cameras booklet (PUB. 9022).

Manufacturer description #1

The 150mm and 180mm lenses display high image quality and natural coloring throughout the whole picture after opening up the aperture due to an increase in the amount of peripheral light.

Manufacturer description #2

The 150mm f/3.5 is a short telephoto utilizing Mamiya's low dispersion glass with superior performance at all apertures. Many table top, studio, portrait and fashion photographers find it an excellent choice for all purpose photography. It allows slightly closer working distance for portraits than longer lenses, facilitating a more informal and intimate approach. Applications include portraiture, fashion, beauty, landscape and studio product photography. Equivalent to 73mm in 35mm format.

Manufacturer description #3

Designed to achieve exceptional contrast, resolution and color fidelity, the Mamiya RZ-150mm provides continuously outstanding performance from minimum focus distance through infinity. Its focal length places it in the mid-telephoto range.

The RZ-150mm is particularly useful for portrait and product photography, rendering a flattering longer-than-normal perspective, without the characteristic foreshortening of longer focal length lenses. When used at maximum aperture, in combination with its mid-range telephoto perspective, it provides distinctive separation of subject and background, while maintaining remarkable sharpness.

Since it offers a slightly greater lens-to-subject distance, the RZ-150mm enhances the photographer's ability to remain close enough to the subject to build rapport, yet far enough away to retain ample working distance. It is so versatile that it is often chosen as a "long-normal" by many photographers.

In studio applications, it allows full-length shots at a camera-to-subject distance of less than 25 feet, and head and shoulder shots at 4 to 5 feet. Additionally, the RZ-150mm excels in tabletop photography offering an extra margin of working distance, combined with superb sharpness.

For close-up work, the RZ-150mm focuses to 2.7 feet, approximately 1/3 life-size magnification, without the need for special attachments. Greater magnifications are possible with the addition of extension tubes.

Product and landscape photographers will particularly appreciate the minimum aperture of f/32, as well as the breathtaking clarity of image for which the RZ-150mm is known.


Standard of Excellence

Mamiya lenses are designed and bui lt for today's foremost photographers who expect their equipment to provide both outstanding and distinctive results.

Engineers at Mamiya have developed rigorous performance criteria for each lens design. No detail is overlooked. No test is omitted. The goal is technical perfection... The result is a series of lenses which have set the new world-standard of performance. A perfect example is the RZ-150mm f/3.5W.

It is a state-of-the-art, modified Gauss design using Mamiya's own formulation of high density/low dispersion glass. Each lens element is precisely polished and coated using Mamiya's proprietary multi-coating process to increase light transmission, dramatically reduce flare, ensure crisp, clean whites and vibrant, yet natural colors.

Color balance of the RZ-150mm has been perfectly matched to the entire series of RZ lenses, to assure identical color reproduction of all focal length lenses.

Mamiya engineers and inspectors test continuously as the lens is assembled to insure flawless quality. The result is a lens designed so carefully, built so meticulously, that it renders true apochromatic performance!

It is Mamiya's unique balance of extreme sharpness, brilliant contrast, accurate and consistent color fidelity and overall high performance that captures the imagination of contemporary photographers who choose Mamiya to express their personal visions.

Among today's community of world famous photographers, Mamiya lenses have established themselves as the new benchmark by which others are measured.



Tele Converter Lens - RZ

Enables 150mm f/3.5 to be used as an effective 212mm f/5 lens without loss of image quality.

Auto Extension Tubes - RZ

Up to 1.15x life-size magnification. Focusing distance as close as 8.8 inches.

Bellows Lens Hood - RZ G-2 and G-3

Shields lens from extraneous light. 3" gel filter holder available.

Typical application


Slow 6x7 medium-format short telephoto prime lens • Professional model (Top class)

Professional model (Top class)

  • Designed for medium format cameras
  • Compatible with teleconverters

Genres or subjects of photography (1):


Recommended slowest shutter speed when shooting static subjects handheld:

1/160th of a second

Alternatives in the Mamiya RZ67 system

Sorted by focal length and speed, in ascending order

Lenses with similar focal length and speed

Sorted by manufacturer name

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2


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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.


Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),


CF – crop-factor of a sensor,
FL – focal length of a lens.


A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.


The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/3.5 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.


Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.


Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.


Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.