- Joined
- Jul 14, 2011
- Messages
- 13,928
- Format
- 8x10 Format
Badger Graphic was a minor supplier of LF, but a good one. They are still around. They once carried Fuji LF lenses too. The major sources of shopping in the US were the big actual pro photo stores not only in NYC but here on the West Coast too. I could run across the Bay Bridge on my lunch hour and inspect or purchase things. There were even big graphics houses on both sides of the Bay which offered still wider lines, including what was still left of Goerz taking and graphics lenses.
But in terms of trade show presence and advertising, and also photo academies, Schneider was the most dominant actor. But when they fell behind in newer designs, Rodenstock Sironars started getting a lot of traction. Fuji was far less aggressive in this country, but by then largely superior to Schneider in terms of innovation and quality.
Another significant factor, at least among outdoor photographers, was the stunning work being done and widely published by Japanese mountaineering photographers, including Shirakawa and Shirohito, and what lightweight equipment they chose. Both used Linhof 4x5 Technikas, although Shirakawa is best known for his Pentax 6X7 aerial images (he shot his Technika from airplanes sometimes too, but under different sponsors). That put Fuji tele lenses firmly on the map with many Technika shooters here, and enticed them to try other Fuji lenses, like the tiny A 180's and 250's. And it is what allowed a dealer once down the street from me to make most of his living on just Pentax 6x7 gear sales. Even painters were inspired by Shriakawa's work. A trend had begun.
I don't even remember precisely why I bought a little 240/9 G Claron, except that my Fuji 250/6.7 was stolen, and I decided to replace it with something even more compact. It certainly wasn't because a Schneider Rep put two and two together with respect to the demand for lighter weight view cameras lenses among the numerous outdoor LF photographers then on the West Coast.
But in terms of trade show presence and advertising, and also photo academies, Schneider was the most dominant actor. But when they fell behind in newer designs, Rodenstock Sironars started getting a lot of traction. Fuji was far less aggressive in this country, but by then largely superior to Schneider in terms of innovation and quality.
Another significant factor, at least among outdoor photographers, was the stunning work being done and widely published by Japanese mountaineering photographers, including Shirakawa and Shirohito, and what lightweight equipment they chose. Both used Linhof 4x5 Technikas, although Shirakawa is best known for his Pentax 6X7 aerial images (he shot his Technika from airplanes sometimes too, but under different sponsors). That put Fuji tele lenses firmly on the map with many Technika shooters here, and enticed them to try other Fuji lenses, like the tiny A 180's and 250's. And it is what allowed a dealer once down the street from me to make most of his living on just Pentax 6x7 gear sales. Even painters were inspired by Shriakawa's work. A trend had begun.
I don't even remember precisely why I bought a little 240/9 G Claron, except that my Fuji 250/6.7 was stolen, and I decided to replace it with something even more compact. It certainly wasn't because a Schneider Rep put two and two together with respect to the demand for lighter weight view cameras lenses among the numerous outdoor LF photographers then on the West Coast.