210mm Apo-Nikkor 1:9 process lens for enlarging

[mbuonocore]

I've been looking for an enlarging lens for 5x7 negs. Black and white prints, and very unlikely I'll make anything bigger than 5x enlargements. I have the option of using an older Apo Nikkor 210mm 1:9 process lens - the ones in the wooden boxes, with the waterhouse stops.

Will this do the trick, or should I keep waiting for a "traditional" enlarging lens like a Rodagon, Componon or EL-Nikkor?

Any advice welcome. Thanks!

[Drew Wiley]

Depends. You ideally want the symmetrical airspaced four-element version of the Apo Nikkor, not the tessar version process lens. Unfortunately, the 210/9 is a "Q" style tessar. What would be ideal would be the 240/9 dialyte version. I have one of those, and it's superb all the way from f/11 on down. It will even handle 8x10 film quite well if stopped down to f/16. I even use it for very precise interneg and dupe repro enlargement of small film sizes onto sheet film. The 210/9 "Q" might be OK; but it wouldn't be the pick of the litter.

Nikon did make a 210/5.6 El Apo Nikkor lens, which would be rather heavy and very expensive if you can find one. That would be the Rolls Royce version.
But the only significant advantage it would have in this case would just be one stop wider for focussing purposes. You'd still have to stop it down to f/11 for
ideal enlarging usage with 5x7 film. By comparison, f/9 240's are fairly common on the used market, and would cost about 10% as much, even though these too were quite expensive back when new.

Being symmetrical, dialyte style 4 element f/9 Apo Nikkors are usable over an extreme range of magnifications, all the way from near-macro to infinity; and in that respect, they are more precise and better apo corrected than conventional enlarging lenses clear up to mural applications, or even used on view cameras for shooting anywhere from macro to infinity. Highly recommended.

I also have a regular Rodagon 180/5.6 which was specially designed to cover 5X7, although I mainly use it for 4x5 film. If you have an efficient diffusion or mirror box above the negative stage, it can deliver perfect evenness of illumination for 5x7 at f/11. This is an excellent lens too, but not with the extreme microtonal contrast and apo-ness characteristic of the Apo Nikkor f/9's. Nevertheless, I have made many really good large color prints from it, as well as
exceptional black and white prints. I keep several kinds of enlarging lenses on hand for sake of slightly different "personalities". Sometimes the Apo-Nikkors can be a little over the top, when I want a slightly gentler rendering (which will still be very sharp in the case of a regular Rodagon). But it's getting hard to find the 180/5.6 Rodagons, and you might end up paying even more than for a 240/9 Apo Nikkor. (

Don't opt for either a 180/9 Nikkor or a 180 Apo Rodagon for 5X7 usage if one of those turns up, or even a 150/5.6 Apo Rodagon N - the coverage won't be ideal.

[xkaes]

Is there a law against you trying it out? If not, that's what I'd do -- but I'd try it out even if there were a law against it.

[mbuonocore]

I won't quote your long message, but thank you very much for this information and advice, Drew. It's much appreciated.

[Alan9940]

I will certainly step aside to Drew's obvious expertise, but many years ago I was very happy with the 16x20 prints I was making from 8x10 negs using a 305mm Schneider G-Claron. Obviously, this is only a 2x enlargement which might have not been any challenge to this lens. So, I guess it depends on what you're looking for in your prints.

[Drew Wiley]

Similarly, a 240 or 210 f/9 plasmat-style G-Claron could be used for 5x7 enlargement purposes. I've tested them. Better than many older enlarging lenses, but not equal to the best later ones, and certainly not in the league of Apo Nikkors. But if you already have one, why not? Similarly, a 250/9 Fuji A lens should work well too, which will have a little higher contrast than a G-Claron due to its multicoating in most cases.

[Daniel Unkefer]

Glenn Evans on his website recommends the 150 F9 G-Claron for enlarging 5x7, so I got a great deal on one. He's right! I only go to 11x14 paper from 5x7, but it is working wonderfully well for me. I'm using mine on an ancient Omega E-3.

[Drew Wiley]

That's because you're so close up with small enlargements. Try a 150GC at a significantly greater distance like for mural sized enlargements, and you might be quite disappointed. GC's are well corrected for infinity, but at smaller stops and more realistic image circle requirements relative to format. Glenn does his testing in relation to his recommendations fairly close-up in a studio setting.

[Daniel Unkefer]

All I want are small enlargements (like Glenn I guess) so it does all I need it to do. Could work wonderfully for some. Also my darkroom has drop ceilings so ceiling height is limited. I guess I'd consider it a WA Enlarging Lens, but it does fit my needs well. I have complete sets of Apo Ronars (my preference) and Schneider Chrome Componons as well in matched pairs 80mm to 360mm for my TLR Sinar Normas. But I use the 150GC for enlarging 5x7 because I was able to get a great deal on it and it fits my needs.

[xkaes]

259127

[Vaughan]

KEH have a silver Schneider-Kreuznach Durst 210mm f/5.6 Componon Enlarging Lens for less than US$100.

Or this on eBay in the UK (https://www.ebay.com.au/itm/126357556535) for about the same money.

[Sal Santamaura]

...a 250/9 Fuji A lens...

There's no such animal. However, once again Drew, you were probably thinking of the 240mm f/9 Fujinon A.

[xkaes]

The original Fujinon A (and A S) series did not include a 300mm (or a 250mm, either).

For some reason, the 300mm was a late-comer and was introduced in the NA series -- which is marked on the OUTSIDE of the barrel.

It seems to me that the 300mm is the most in demand of the A/A S/NA series, but that might be due to the supply.