Originally posted by Clavius The problem that I always had with that concept is the fact that the beauty of the image is formed in front of the lens, not by the lens. It is up to the photographer to select a scene, as beautiful or as horrid as he/she wants. And it's up to the lens and camera to record that scene as accurately as possible. Any additional artsy effect can then be added in post, because what's gone is gone.
---------- Post added 26-09-14 at 08:31 ----------
Does a painter depend on it's brushes to breathe that life into his paintings? Does a writer depend on his notepad or keyboard for a good storyline? No, they're tools, and need to do their job. The artsy part comes from the human user. The exact same thing goes for cameras. They are tools with only one job to do correctly: record the scene in front of them as accurately as possible. Sharpness is a factor that belongs to that accuracy. Any artsy effects are up to the photographer. The placement of the strobes, the usage of light, camera settings and the effects applied during post process. Any sharpness lost because of bad or artsy lens design is lost forever. If artsy softness is needed, it only requires a few seconds in a free PP-program, not a ~$900,- lens...
I understand and appreciate where you're coming from, and in one sense what you've said is all true.
However, I do see another side to the story, and the thing is, neither side necessarily cancels out the other. Both perspectives are valid!
I've found it to be true that in certain cases, the tools themselves might impart a certain (desirable) character of their own. One could say they are thus "non-linear", and that's true, but if we recognise the fact, and intentionally take advantage of it - with the key aim of producing beautiful results - then it is certainly one way of working.
I'm no PP expert, but from what I've seen so far, it does seem extremely hard to recreate by PP certain rendering characteristics of particular lenses, for which those lenses have gained a reputation.
Maybe this illustration will prove helpful:
A similar situation exists in the audio recording world. Certain microphones, equalisers, reverb units, even formulations of magnetic recording tape have gained a reputation in the industry over the years for a "signature sound" they impart. It's extremely hard to recreate their effect via outboard digital signal processing (this would be analogous to photographic PP). Precisely for this reason, said equipment is routinely requested by recording engineers when they want to create a particular sonic flavour. And yet, the very same engineers will sing the praises of an ultra high-resolution, super linear A-D convertor, PRECISELY because it digitally captures as close as possible a musical performance, as faithfully as current technology allows, with an absolute minimum of colouration and fantastic degree of fine audio detail (analogous to lens sharpness). Mind you, said performance captured may very well include musicians utilising those "characterful" pieces of equipment earlier mentioned.
Having said that, certain record producers opt to use good old fashioned magnetic tape (hardly the last word on linearity), simply because it subjectively sounds "good".
Both approaches can (and i think should) be used, symbiotically, with the ultimate aim of creating a beautiful result, whether a photograph or a music recording.