Scholz uses an arsenal of analog cameras, among them the Pentax 67; given the shallow depth of field, I suspect this was made with the Holy Grail of Pentax 67 lenses: the 75mm F2.8.
I am not a fan of bokeh; focusing attention on the subject at the expense of reducing surrounding context to blurred abstraction isn’t my bag.
In medium format, the fastest lens is typical f2.4–or 1.5 times the depth of field of a 35mm format f1.4 lens.
It serves nicely here: clearly intimating a living room while thwarting any greater specificity. This could just as easily be the photographer’s domicile, the subjects house or some bungalow borrowed for an out of town weekend.
Scholz prefers Kodak Tri-X stock. Again, I really would be hard pressed to be any less of a fan; so it is startling for me to see someone coax such delectable tones from it.