Going back decades, well-heeled amateur and hobbyist photographers have lusted after fast prime lenses. Partly this is just human nature. In the days when most cameras shipped with standard 50mm F1.8 or F2 lenses, it was inevitable that such photographers would long for something a little more exotic. A little faster, more expensive, and more `professional`. For photography obsessives that grew up idolizing the famous LIFE magazine shooters of the late 20th Century, it was natural to aspire to own those kinds of lenses, despite their price.
There is still a demand for F1.4 and faster lenses, but that`s not the same thing as saying that there is a need for them
Partly though, the appeal of fast lenses is practical - regardless of your ability level or income. They let in more light, and more light, even today, is always good. In the film days though, you really needed every stop. For a long time, anything above ISO 400 was considered `fast`, and shooting so-called `high speed` film involved compromises, in color rendition, grain and contrast. For photographers that needed to work in changing conditions, an F1.4 or even F1.2 lens was valuable insurance against missed opportunities created by a lack of light. Never mind that many of the F1.4 and F1.2 lenses of the film era were pretty soft wide open - a slightly hazy photo is better than no photo at all.
But today, two decades into the `Digital Century`, is there still a need for ultra-fast lenses?
One of the ultimate drool-worthy lenses, the Leica Summilux 35mm F1.4 (this example is from the 1970s) is the most compact F1.4 lens that Leica ever made for its M-series rangefinders. Its small size, light weight, and the premium attached to F1.4 means that it has long been a favorite of professionals and wealthy amateurs. Never mind the fact that at it can`t focus closer than 1 meter, can`t accept normal filters and doesn`t really get sharp until F2.
Fast lenses continue to sell ...
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