I think another big reason for the rise of ultra contrast modern lens was in product commercial photography, many items to be shot sometimes had surfaces that would not shoot sharp (plastics/ceramics etc), so a contrasty lens would at least cut outlines that helped manage them... The downside was that with a subject on a bright white background would photograph with a really hard edge contrast (like a B/W print printed on #3 paper) and little midtone scale...
But the contrasty lens could also be useful shooting low contrasty stuff, like black on blackstuff, same color fabrics etc...
I prefer old Ektars, Heliars, Tessars, but have a couple of modern lenses around if the need arises...
Steve K
Perhaps not, we sold cameras and lenses to “super studios” back then that did catalog photography in super market sized studios. Many switched from process lenses like Apo Ronan’s, Nikons and Schneider’s to Macro Sironar for table top product shots for color catalogs.
The art directors would set up product tables with multiple products for each shot which then were cropped out to individual products for reproduction. That meant that products went edge to edge and corner to corner to cut down production time and costs.
On the other hand we sold humongous sn tudios like Alderman, when furniture was still being made in NC and they shot huge room settings for catalogs and they demanded modern plasmat lenses.
Much the same here. As said more than a few times, those beginning this LF journey on 4x5 would be wise to stick with the traditional three focal length set of;
~90mm
~150mm to 210mm
~300mm to 360mm
~Then focus on making images.
Also said many times previous. Yes, there are differences in image rendition of various lenses _but_ these variations alone will never make a expressive on what the lens does alone. Think this is part of the obsession for "GAS", it is non-productive, it does tend to separate those who are about expressive image making -vs- those interested in collecting Foto trinket trophies. Ponder how the "condition or beauty" ratings of used Foto gear applies here.
It is quite possible those starting LF today come from the smaller film and digital image making world where marketing has driven that group's mind set of must have the "Latest & Greatest" Foto trinket to make the images of their dreams. If one were to go back in time to an era when film was the only widely available means of high quality print and image making, those who decided to do sheet film were often experienced enough and serious enough to seek escape from the frantic panic world of marketing driven latest & greatest Foto widgets and trinkets.
Bernice
I'm thinking that price depends on the following: Capability, Rarity, and Reputation/Perception.
Under capability comes, image circle, maximum aperture, focal length, and shutter. Generally speaking in these attributes the bigger, the more expensive.
Rarity speaks for itself.
For this or that reason, perhaps a combination of the above, some lenses attain "cult" status. The 14" Trigor is an example. The Schneider Fine-Art series would be another. The f7.7 Dagors are a third. There are many of these "fancy" lenses.
I had a Schneider Dagor 14" Multi-Coated lens that definitely fits into cult status, and it's also rare. Frankly, while the lens is one of the most contrasty that one can purchase, I didn't care that much for it. It was probably too contrasty, and I didn't think that it was that sharp. (Dagors can be subject to focus shift.) I sold it for $2823. Instead, I now own a G-Claron 14" lens that I purchased for about $750. This is a respected lens, and I prefer it to the Dagor that I sold.
I also owned a 600mm Fuji C lens, which is rare, and it has also attained "cult" status. For it's focal length, it's "compact" and light-weight, it's multi-coated, and it's mounted in a modern shutter. I decided to sell it for $3450. Shortly after that sale, I was able to purchase a 610mm, single-coated Repro-Claron mounted in a dated Alphax shutter for $325. This lens is a little heavier and a little larger, but it meets all my needs.
Point being, do you really need a fancy lens? I'd suggest beginning with a standard lens that will meet most needs. After use, it could be that you may want to venture into higher capability lenses, or possibly rare or "cult" lenses. But, let the actual need drive that journey. By the nature of large format, most lenses that fit that category are high quality and perform quite well. Start there, and move up if there's a need.
But...but...but...isn't it really all about the bokey?
Bokum? Hokum.
Bookmarks