5x7 enlarging lenses?

[Mark Sawyer]

For 1.5 to 3x (8x10 to 16x20) enlargements on a Zone VI Coldhead enlarger. Is there any appreciable difference between a 210mm Rodagon, 210mm El Nikkor, and 210mm Componon-S? (btw, I'm considering a Componon-S for $150, which seems to be the going fairly-good-deal rate for all three of these, but I'm in no hurry...)

[Mark Sampson]

A bit of anecdotal 'evidence'. Thirty years ago we tested 150mm lenses from those makers at the custom lab where I worked; the EL-Nikkor was the sharpest and the least expensive, and that's what the lab owner bought. IIRC the differences between them were slight, if visible in an A-B-C comparison. (And the 8x10 Super-Chromega F that lived there carried a chrome 210mm Componon.) At this point I'd have to say any differences between those three would be down to individual example variation. Hard to go wrong either way.

[Filmnut]

I too, used to work in a Custom Lab, and tested most of these lenses from time to time. I never had an El-Nikkor in the longer focal lengths, but in my comparisons of the 210's - 300's, found the Rodagons to generally be slightly sharper than the Componon-S. But with dealing with used lenses, condition is the key, plus as Mark said individual variations will occur. Either one, in good condition should be a fine performer.
Keith

[Mark Sawyer]

Thank you, gentlemen! It's pretty much what I suspected, but it's good to hear it confirmed by those with first-hand experience.

[Eric Woodbury]

I have the 180mm Rodagon and the El Nikkor. The El Nikkor is a process lens, at least it doesn't have any click stops and I brought it from a guy that was doing process work. I cannot tell the difference between the two and even though I'd like to have clicks, I use the El Nikkor because the f/#s are larger on the lens and easier to read.

[Sal Santamaura]

...The El Nikkor is a process lens, at least it doesn't have any click stops and I brought it from a guy that was doing process work...If it's a process lens and doesn't have click stops, it is most likely an f/9 Apo Nikkor, not an El Nikkor. 180mm El-Nikkors are f/5.6.

[Drew Wiley]

I've used a range of all of them, and at one point in time, the Rodagons and most EL
Nikkors were a bit ahead of the Componon S lenses in terms of performance, but you really can't go wrong at that kind of price for a 210, especially for black-and-white work. The Apo Nikkor process lenses are better yet, but at smaller working apertures.
Of course, you can have the best of both worlds and purchase an Apo EL Nikkor -
there's a 210 for sale on Fleabay right now for less than six grand. What a bargain!

[Mark Sawyer]

The Apo Nikkor process lenses are better yet, but at smaller working apertures.
Of course, you can have the best of both worlds and purchase an Apo EL Nikkor -
there's a 210 for sale on Fleabay right now for less than six grand. What a bargain!

Such a bargain! :eek:

I have a 210mm Eskofot Ultragon that does a "nice enough" job, probably equivalent to the Nikkor process lenses, but I thought I'd bite the bullet and spring for a "real" enlarging lens. Maybe I read too many threads about having a "lens specifically designed for enlarging." Don't know if I'd see a difference, but the brighter f/stop would be nice, and the process lenses are optimized at f/22 (not that I've seen much difference.) The enlarging lenses are getting cheaper and cheaper. I may hold out for the Rodagon, since I'm not in a hurry. We'll see what comes up. Thanks all!

[Drew Wiley]

It's a misconception that Apo Nikkors have to be used at f/22. Most of them will be
sharper and better corrected at f/11 than most dedicated enlarging lenses at any aperture. For 5x7 I think I'd prefer a 240. But there are certainly times when having
the brighter typical enlarging lenses makes focussing easier, or when you might need the extra speed to reduce printing times. The smaller max apertures will amount to a
smaller overall lens, however, and sometimes this makes mounting the lens more convenient.

[Mark Sawyer]

One of the very nice things about the Zone VI is that it will take a lens of almost 4-inches in diameter, so I'm not too worried about the size. I like the focal length of the 210 Eskofot I have on there now, so I thought I'd stay with that. The 180's are designed for 5x7, so I figure the 210 will let me keep away from any paranoia about fuzzies at the edge of coverage.

It's good to hear that process lenses are fine at other apertures than f/22. I keep running across that, but I've put mine through their paces on a camera and they seem excellent for contact printing (admittedly not the most demanding) at all apertures. But I'm not a technical whiz on their use on enlargers...

[George Pappas]

Hi Mark,

I went through a similar process 10 years ago when I put together my Zone VI system. I have used Componon-s and APO Componons for years on smaller formats.

I ended up with the 180mm Componon-S and am very happy with it. It had/has fine coverage to the corners of my 5x7 negs so no fuzzies...your bigger issue is to ensure that your enlarger is aligned well at your exact magnification and focusing position and that you use a glass negative carrier (I found focal point ZoneVI carrier with AN Glass to be excellent).

I compared the componon-S to the older componon and saw a definite difference in close-value separation and flare. I cannot comment on the Rodagons/Nikkors.

Best of luck in assembling your outfit. The Zone VI is a great enlarger for 5x7. Like all systems, it has its quirks, but you can get a lot of high-quality use out of it.

George

[Michael Alpert]

Mark,

I think any of the high-end enlarging lenses will provide what you need. I use a 210mm Rodagon with a 5x7 Omega enlarger and an Aristo cold-light head. The lens is somewhat old, but I haven't up-graded from it because I see that my prints are limited by the resolution of photographic paper, not by the enlarging lens or the resolution of the negative. For modest enlargements such as you are contemplating, the resolution of the paper will be your limiting factor, assuming that you have your technical photographic practice in order. In other words, your prints are going to be as sharp as they can possibly be. One more point: I have found that I do not need or want to use a glass negative-carrier. Using a few short pieces of "Magic" tape on the edges of the negatives (to gently pull them flat) works as well, without adding the problems of Newton Rings and more surfaces for dust.

[Kevin Crisp]

My 210 El Nikkor has prominent click stops. I've been very pleased with it for 5X7 and was delighted to find it handled 8X10 as well.

[Mark Sawyer]

I have the factory alignment tool for the enlarger, and have checked it; only very slightly off and easily corrected. I agree with Michael that glass carriers can be more trouble than they're worth as far as results go, especially with a Coldhead that doesn't generate heat to warp the negative during exposures. But I'll likely be doing glass plates anyways, so it's academic.

Guess I'll just keep an eye out for the Rodagon, El Nikkor, and Componon-S, and see which pops up as a good deal first!