rbiemer
Unabashed Amateur
Starting down the LF rabbit hole and, so far, pretty enthused about it!
But, I do know I will need some gear for this that I haven't needed for 35mm/120 photography.
So, I have a list below of what I have, so far. And what I think I still need to get. What am I missing/forgetting? What do y'all consider needed vs nice to have or more convenient?
For what I want to shoot, a field camera makes more sense and I am not currently looking to make wet prints--eventually, maybe, but for now scanning my negatives and digital prints.
What I have so far:
>Camera. An Intrepid 4x5 will be delivered in the next two or three weeks.
>Lens and lens board. I have a 135mm Wollensak Raptar in a Rapax shutter, and a couple of lens boards. (one for the lens I have and one for future use). I have some good Series adapters and hoods and the usual filters for black and white film.
>Film holders. Bought 5 Fidelity holders. Listed as "excellent", appear to be unused.
>Tripod and head. I have several and the biggest one I currently own should be enough for the Intrepid--the camera weighs about 2 pounds--but I may need to look at tripods/heads again once I actually have the camera and try it on the tripod I now have.
>Light meter. Either of my "serious" meters(Minolta Autometer IIIf and 5° spot attachment or Calculught XP) ought to do fine--and sunny 16 shouldn't become invalid just because I bought a new canera.
>Focus loupe. I've got a 4x loupe that I've been using for 35mm/120 negatives.
>Notebook(s). I want to be more methodical so I will need to be taking good notes both when shooting and when processing.
>Film. HP5+ to start out with.
>Chemistry. Have Kodak dev, stop, fixer, and photo-flo.
>Daylight tank. I bought a Stearman SP-445 tank. (in large part that is what led me to seriously looking at LF photography again.)
>Darkroom timer. I've got a Gra-lab and, because of the daylight tank, I can also use the Massive Dev app on my phone.
>Thermometer.
What I don't have:
Lens storage. Lens wrap or a correctly sized "Tupperware"/plastic box?
>Something to clean the film holders. Antistatic brush and/or canned "air"?
>Changing bag. I am hoping to adapt the interior closet in my windowless bathroom for loading film and the daylight tank. Will need to test and confirm this is workable.
>Dark cloth.
>Negative storage--sleeves and a notebook seem the obvious choice.
>Negative clips/drying hangers.
>Measuring cylinders/beakers. I could buy new, good kitchenware for this but I want to be sure the photo chemistry stuff is very clearly not the food stuff.
>Dedicated scanner. For now, I have been trying out Vuescan with my existing flatbed scanner. Eventually I will want to get a 4x5 capable film scanner.
And, I do have a couple of camera bags that may work, won't really know until I get the camera and see.
What else should I have? What else do you folks have that I haven't listed above? What else have I completely overlooked?
Thanks!
Rob
But, I do know I will need some gear for this that I haven't needed for 35mm/120 photography.
So, I have a list below of what I have, so far. And what I think I still need to get. What am I missing/forgetting? What do y'all consider needed vs nice to have or more convenient?
For what I want to shoot, a field camera makes more sense and I am not currently looking to make wet prints--eventually, maybe, but for now scanning my negatives and digital prints.
What I have so far:
>Camera. An Intrepid 4x5 will be delivered in the next two or three weeks.
>Lens and lens board. I have a 135mm Wollensak Raptar in a Rapax shutter, and a couple of lens boards. (one for the lens I have and one for future use). I have some good Series adapters and hoods and the usual filters for black and white film.
>Film holders. Bought 5 Fidelity holders. Listed as "excellent", appear to be unused.
>Tripod and head. I have several and the biggest one I currently own should be enough for the Intrepid--the camera weighs about 2 pounds--but I may need to look at tripods/heads again once I actually have the camera and try it on the tripod I now have.
>Light meter. Either of my "serious" meters(Minolta Autometer IIIf and 5° spot attachment or Calculught XP) ought to do fine--and sunny 16 shouldn't become invalid just because I bought a new canera.
>Focus loupe. I've got a 4x loupe that I've been using for 35mm/120 negatives.
>Notebook(s). I want to be more methodical so I will need to be taking good notes both when shooting and when processing.
>Film. HP5+ to start out with.
>Chemistry. Have Kodak dev, stop, fixer, and photo-flo.
>Daylight tank. I bought a Stearman SP-445 tank. (in large part that is what led me to seriously looking at LF photography again.)
>Darkroom timer. I've got a Gra-lab and, because of the daylight tank, I can also use the Massive Dev app on my phone.
>Thermometer.
What I don't have:
Lens storage. Lens wrap or a correctly sized "Tupperware"/plastic box?
>Something to clean the film holders. Antistatic brush and/or canned "air"?
>Changing bag. I am hoping to adapt the interior closet in my windowless bathroom for loading film and the daylight tank. Will need to test and confirm this is workable.
>Dark cloth.
>Negative storage--sleeves and a notebook seem the obvious choice.
>Negative clips/drying hangers.
>Measuring cylinders/beakers. I could buy new, good kitchenware for this but I want to be sure the photo chemistry stuff is very clearly not the food stuff.
>Dedicated scanner. For now, I have been trying out Vuescan with my existing flatbed scanner. Eventually I will want to get a 4x5 capable film scanner.
And, I do have a couple of camera bags that may work, won't really know until I get the camera and see.
What else should I have? What else do you folks have that I haven't listed above? What else have I completely overlooked?
Thanks!
Rob
DominikDUK
Well-known
A bellows extension calculator is very useful for close ups you can download one for free http://www.salzgeber.at/disc/
Ronald M
Veteran
Cable release .
Some way to store film holders dust free, loaded and unloaded. Dust is the bane of LF as it is for digital. You need a dust free place to load them. Changing bag is a pain. I have a picnic basket that zippers up and holds 50 mostly for storage. Also a few lunch bags that hold 6 each. Came from Target years ago.
Lens shade
A lens that has coverage so you can take advantage of camera movements.
Shutter checker
Way to hang the film to dry
Save up for better glass. Wallys are pretty ancient. Mine never came close to current standards.
Some way to store film holders dust free, loaded and unloaded. Dust is the bane of LF as it is for digital. You need a dust free place to load them. Changing bag is a pain. I have a picnic basket that zippers up and holds 50 mostly for storage. Also a few lunch bags that hold 6 each. Came from Target years ago.
Lens shade
A lens that has coverage so you can take advantage of camera movements.
Shutter checker
Way to hang the film to dry
Save up for better glass. Wallys are pretty ancient. Mine never came close to current standards.
mbisc
Silver Halide User
What I don't have:
>Lens storage: lens wraps (KEH sometimes has used ones)
>Something to clean the film holders: big Antistatic brush, like 5 inches (canned "air" just moves the dust around
>Changing bag/interior closet: I have used either, but the former needs to be big enough (there are changing tents), and the latter dark enough
>Dark cloth: definitely
>Negative storage: the usual PrintFile sheets and folders
>Negative clips/drying hangers: I use stainless aligator clips (I think that's what they are called) from an office supply store, strung together on a rope or a thin wire hanger
>Measuring cylinders/beakers: I have both -- the kitchen-supply ones are much cheaper, and you can label them with Sharpies to avoid "double usage"
>Dedicated scanner: have an HP flatbed, but prefer a real darkroom
Cheers,
Mike
>Lens storage: lens wraps (KEH sometimes has used ones)
>Something to clean the film holders: big Antistatic brush, like 5 inches (canned "air" just moves the dust around
>Changing bag/interior closet: I have used either, but the former needs to be big enough (there are changing tents), and the latter dark enough
>Dark cloth: definitely
>Negative storage: the usual PrintFile sheets and folders
>Negative clips/drying hangers: I use stainless aligator clips (I think that's what they are called) from an office supply store, strung together on a rope or a thin wire hanger
>Measuring cylinders/beakers: I have both -- the kitchen-supply ones are much cheaper, and you can label them with Sharpies to avoid "double usage"
>Dedicated scanner: have an HP flatbed, but prefer a real darkroom
Cheers,
Mike
rbiemer
Unabashed Amateur
D'OH! I did forget cable release but I also do have (and use) a good one.
Ziploc bags for film holder storage--in fact, the holders I have are inside one now.
For the lens I have now, I have the correct Series adapters, some good filters, and a couple of hoods/lens shades.
Film drying--clothes pins or are dedicated clips better?
Better lens--am going to want to see what I get with the Raptar before I think about replacing it. I do know I will want different focal lengths so I am saving towards that. Ancient glass is not in and of itself a deal breaker for me.
Shutter checker-- i will know pretty quickly if the shutter I have now is ok or not but, as/if I get other lenses, some way to do that makes sense. Any suggestions about what to get?
Thank you!
Rob
rbiemer
Unabashed Amateur
gns
Well-known
Not something you need, but very handy and free...
A viewfinder aid made from a piece of matte board (or any cardboard).
Take a sheet of matte board 8" x 10" or so.
Cut a 4" x 5" rectangle out of the center.
If you hold this in front of your eye at a distance equal to your lens' focal length, looking through it will give you the same view as your camera. If your camera has rear swings and tilts, moving the card in the same way will simulate those movements as well.
Very useful for exploring different vantage points without setting up/moving the camera.
Sort of a poor man's director's viewfinder.
A viewfinder aid made from a piece of matte board (or any cardboard).
Take a sheet of matte board 8" x 10" or so.
Cut a 4" x 5" rectangle out of the center.
If you hold this in front of your eye at a distance equal to your lens' focal length, looking through it will give you the same view as your camera. If your camera has rear swings and tilts, moving the card in the same way will simulate those movements as well.
Very useful for exploring different vantage points without setting up/moving the camera.
Sort of a poor man's director's viewfinder.
mbisc
Silver Halide User
On the dust avoidance issue -- there are ziplock sandwich bags (forgot the size) that are just a bit wider than a 4x5 film holder. I keep mine in those at all times (loaded or not), and throw the baggies away when they start looking ratty...
rbiemer
Unabashed Amateur
mbisc and gns,
Thanks for your useful suggestions!
Rob
Thanks for your useful suggestions!
Rob
Roger Hicks
Veteran
Dear Rob,
Especially for cleaning, see http://www.rogerandfrances.com/subscription/ps how loading cut film.html
Cheers,
R.
Especially for cleaning, see http://www.rogerandfrances.com/subscription/ps how loading cut film.html
Cheers,
R.
Fixcinater
Never enough smoky peat
1. Patience and understanding that things will go wrong.
2. A changing tent has come in very handy, bags are just OK for small format but 4x5 is a big drag (no pun intended), so the tent is a nice addition.
3. Establishing a pattern for your loading & unloading, shooting and storing of exposed/unexposed sheets. Writing it out and sticking to the pattern helps with #1.
4. Spare box for film to hang out in, either before exposure or after.
2. A changing tent has come in very handy, bags are just OK for small format but 4x5 is a big drag (no pun intended), so the tent is a nice addition.
3. Establishing a pattern for your loading & unloading, shooting and storing of exposed/unexposed sheets. Writing it out and sticking to the pattern helps with #1.
4. Spare box for film to hang out in, either before exposure or after.
rbiemer
Unabashed Amateur
Roger, very useful info there--I've read it through a few times in the last month or so. For more depth, I bought your and Frances' Black and White Handbook. Sorry to say, I couldn't find a new copy.
"Things will go wrong" even when I'm shooting the same cameras and film I have been using for the last decade or so.
But I do take your point; I strive to minimize my mistakes and don't get too freaked when I do make 'em. As well, as long as I'm not continually making the same mistake, I figure I'm making progress. Rob
Blaidd_Drwgg
Member
When I don't want to carry my weighted dark cloth, I just use a black t-shirt with the neck stretched around the rear frame. It is obviously not as dark or roomy as the real thing, but it works well, and it has arm holes to hold the loupe!
Also, my preference for loupes is ~6x-8x, depending on the ground glass. My 10x negative loupe was too much, even on the Arca-Swiss GG i tried it on. 4x was definitively not enough, even on the really coarse original GG of my late 40s Technika. But from what I read, the Intrepid has a plastic screen, and I have no experience with that. And I don't know how all of that depends on ones eyes.
Whew, wall of text!
Also, my preference for loupes is ~6x-8x, depending on the ground glass. My 10x negative loupe was too much, even on the Arca-Swiss GG i tried it on. 4x was definitively not enough, even on the really coarse original GG of my late 40s Technika. But from what I read, the Intrepid has a plastic screen, and I have no experience with that. And I don't know how all of that depends on ones eyes.
Whew, wall of text!
Dwig
Well-known
Test it with the shutter well BEFORE you go on your first "expedition". Many old shutters don't like modern releases. Some shutters use a straight thread, instead of the modern tapered thread. These will often accept the modern tapered thread release, but the small pin on the release may miss the thin lever in the shutter. These old shutters expected there to be a "head" on the end of the releases's pin.
The bellows extension calculator is a good recommendation if, and only if, you also bring a tape measure to actually measure either the total bellows extension or the field of view (to calculate reproduction ratio). Back when I shot with a 4x5 field camera I carried a cloth "tailors" tape rolled in my bag at first and later sewed one to the edge of my focusing cloth to make it more convenient.
All sheet film holder leak light and fog film eventually, FOL. I recommend the ancient practice of notching the flap of each holder with a unique pattern of notches, similar to the code notches on 4x5 film though smaller. This way each holder "fingerprints" the image and you can identify which holder has "turned to the dark side of the force". I always did that with my holders and with the film gate in most of my 35mm bodies back when I typically had 2-4 bodies in use.
seany65
Well-known
Perhaps you could see if a 'Beattie Intenscreen' is available that would fit it?
I had one in my Bronica ETRSi and it made a big difference to the brigthness and ease of focusing.
I had one in my Bronica ETRSi and it made a big difference to the brigthness and ease of focusing.
gnuyork
Well-known
Wow - Cortland! My stomping grounds. I don't use my 4x5 often, but when I do it's usually when I make the trip back up to NY.
dschal
Member
A black towel works as a dark cloth.
I started out with wooden clothes pins, and I'm still using them years and years later.
My way is to number each film holder, and each side, and take careful notes.
If you can black out a bathroom, you can load holders there and even develop in trays (a very easy process). It makes you keep your bathroom clean!
Lastly, I'll say what I was told, and then ignored, and eventually followed: at the beginning, don't try to go wild with camera movements. Start off with the camera zeroed out and just learn to focus without movements, stopping down only. That remains the crucial skill. Once you've mastered focusing on a dark ground glass, then you will be able to see the effects of movements.
I started out with wooden clothes pins, and I'm still using them years and years later.
My way is to number each film holder, and each side, and take careful notes.
If you can black out a bathroom, you can load holders there and even develop in trays (a very easy process). It makes you keep your bathroom clean!
Lastly, I'll say what I was told, and then ignored, and eventually followed: at the beginning, don't try to go wild with camera movements. Start off with the camera zeroed out and just learn to focus without movements, stopping down only. That remains the crucial skill. Once you've mastered focusing on a dark ground glass, then you will be able to see the effects of movements.
narsuitus
Well-known
Here is my list:
Must have accessories:
lens (90mm f/5.6 Fuji)
film (4x5 sheet film)
sheet film holders (10 Fidelity Elite 4x5)
tripod (Tiltall with pan/tilt head)
5X Bausch & Lomb focusing loupe
focusing cloth (48x60 inches) (4x5 feet)
cable release
large garbage bag to protect equipment from sudden rain
equipment case
Nice to have accessories:
135mm f/5.6 Fuji lens
65mm f/8 Schneider lens
47mm f/5.6 Schneider lens
pinhole lens
light meter (Gossen incident/reflective)
Polarizing Filter (82mm for 90mm Fuji)
Schneider Center Filter III (67mm filter thread) (do not have yet)
timer for long exposures (use cell phone timer)
Two-wheel cart
backpack
lead-lined film bag
120/220 roll film holder
120 and/or 220 roll film
Fuji Quickload film and holder
(do not have yet; film is no longer produced)
lens shades (do not have yet)
spirit level
tripod strap (do not have yet)
flashlight
ruler or tape measure
(to measure subject/film distance or film/lens distance)
cable release for each lens (do not have yet)
step stool or short ladder
changing bag
Olympus micro 4/3 with 14mm prime (equiv to 90mm on 4x5)
Olympus micro 4/3 with 20mm prime (equiv to 135mm on 4x5)
Olympus micro 4/3 with 14-42 f/3.5 to f/5.6 lens
(14mm equiv to 90mm on 4x5) (20mm equiv to 135mm on 4x5)
Canon G15 at widest zoom angle equiv to 90mm on 4x5
Fuji X-pro1 with 28mm f/4 perspective control lens and tilt adapter
(equiv to 135mm on 4x5)
electronic flash kit for large group portraits
(flash units, remote triggers, light stands, umbrellas)
x-ray
Veteran
I wouldn't spend much on secondary frills until I bought a better lens. The 135 raptor is sharp but it's a Tessar formula and will just cover 4x5 with little to no movements. Tessar formula lenses are very good but have minimal image circles compared to a plasmat. They're great for a press camera but not suited for a view camera. I certainly wouldn't spend any money on a cla for this lens if it needs it.
Look for a Schneider Symmar or Symmar S, Nikkor W of Fujinon W. Rodenstock Sironar N, S or W are great but IMO are seriously over priced as are Dagors. Any of the above will have ample coverage in a 135 or longer.
Fuji made 3 different formulas in the W series. Any are greatbut each have differences. Each have different size image circles but all have more than enough for ample movements. All of the above Schneider, Nikkor and Fuji are plentiful and cheap. They are equal performers. Id shop price in the above and buy the best priced one.
I e been shooting view cameras as a commercial photographer for nearly fifty years. I shot 4x5 to 11x14 in the day and have used a broad mix of glass from classic Dagors to Red Dot Artars, Symmars, Fujis, Nikkors and Rodenstock plus a few exotics like like uncoated triple convertible Profars and Turner Reichs. There aren't many bad view lenses that are relatively modern. Just make certain they'll cover your format with adequate movements. Otherwise why get a view camera.
I'd suggest 3 lenses, a 90mm f8 Super Angulon, Fujinon SW or Nikkor SW. Even an Ilex 90 f8 is great and can often be found for a $100 or sometimes less. It's a copy of a Super Angulon. The Rodenstock Grandagon lenses are great but no better than the others and often pricy. I own a couple of them. Sometimes you can find deals on Caltar lenses. These were Ilex in the early days which are good but many are Tessars and lack coverage unless you're buying a longer FL like a 210mm or longer. Later Caltars are re badged Symmar S or or Rodenstock. They're the exact same lenses just with a different name on the beauty ring. Caltar was the Calumet brand.
In addition to a 90 I'd buy a 135 or 150 and a 210 or 240. A nice kit in a 2 lens setup is a 135 and 180.
In longer lenses like a 240mm consider a Schneider G Claron. They're reasonable in priceA , apo and small. They're super sharp with huge image circles. A 240 will cover 8x10 and is in a #1 shutter.
In love get glass like a 300 / 12" any Tessar type lens will more than cover. Look for Ilex or a Wollensak Raptar. They're cheap and excellent but big and heavy. Also Fuji, Nikkor and Kodak made Tessars. The Fuji is the L series, the Nikkor is the M series and the Kodak are Ektar and Commercial Ektar.
I'd put my money into good glass before frills like expensive ground glass and loupes. My 11x14 that I owned and 8x10 and 4x5 Deardorffs don't have anything more than a no frills ground glass. My Ebony and Sinar have Frenel lenses. I used my views in the studio with slow lenses for decades and never felt the need for a fancy GG.
Look for a Schneider Symmar or Symmar S, Nikkor W of Fujinon W. Rodenstock Sironar N, S or W are great but IMO are seriously over priced as are Dagors. Any of the above will have ample coverage in a 135 or longer.
Fuji made 3 different formulas in the W series. Any are greatbut each have differences. Each have different size image circles but all have more than enough for ample movements. All of the above Schneider, Nikkor and Fuji are plentiful and cheap. They are equal performers. Id shop price in the above and buy the best priced one.
I e been shooting view cameras as a commercial photographer for nearly fifty years. I shot 4x5 to 11x14 in the day and have used a broad mix of glass from classic Dagors to Red Dot Artars, Symmars, Fujis, Nikkors and Rodenstock plus a few exotics like like uncoated triple convertible Profars and Turner Reichs. There aren't many bad view lenses that are relatively modern. Just make certain they'll cover your format with adequate movements. Otherwise why get a view camera.
I'd suggest 3 lenses, a 90mm f8 Super Angulon, Fujinon SW or Nikkor SW. Even an Ilex 90 f8 is great and can often be found for a $100 or sometimes less. It's a copy of a Super Angulon. The Rodenstock Grandagon lenses are great but no better than the others and often pricy. I own a couple of them. Sometimes you can find deals on Caltar lenses. These were Ilex in the early days which are good but many are Tessars and lack coverage unless you're buying a longer FL like a 210mm or longer. Later Caltars are re badged Symmar S or or Rodenstock. They're the exact same lenses just with a different name on the beauty ring. Caltar was the Calumet brand.
In addition to a 90 I'd buy a 135 or 150 and a 210 or 240. A nice kit in a 2 lens setup is a 135 and 180.
In longer lenses like a 240mm consider a Schneider G Claron. They're reasonable in priceA , apo and small. They're super sharp with huge image circles. A 240 will cover 8x10 and is in a #1 shutter.
In love get glass like a 300 / 12" any Tessar type lens will more than cover. Look for Ilex or a Wollensak Raptar. They're cheap and excellent but big and heavy. Also Fuji, Nikkor and Kodak made Tessars. The Fuji is the L series, the Nikkor is the M series and the Kodak are Ektar and Commercial Ektar.
I'd put my money into good glass before frills like expensive ground glass and loupes. My 11x14 that I owned and 8x10 and 4x5 Deardorffs don't have anything more than a no frills ground glass. My Ebony and Sinar have Frenel lenses. I used my views in the studio with slow lenses for decades and never felt the need for a fancy GG.
x-ray
Veteran
Beware of the 65 f8 Super Angulon. It barely covers 4x5 at f22 and doesn't allow more than a couple of mm's of movement. Also a 47 f5.6 and f8 Super Angulon won't cover 4x5. The 47 f5.6 Super Angulon XL will cover 4x5 with about 6mm of movement. I owned one for several years.
Each lens maker made a variety of wides. Schneider made both f5.6 and f8. In shorter lenses they offered both up to 90mm in the standard super angulons. 120mm, 165 and 210 SA's were all f8. Some are MUlti Coated and some single. Both are excellent but slightly different due to multi coating difficulties on older formulations of glass. F8 versions have less coverage than the 5.6 versions. SA'a are excellent. I've owned quite a few and still do.
Nikkor made a variety of speeds. In the 65 it's f4, the 75 f4.5, the 90 in f4.5 and 8 (f8 is highly prized for extraccovering and small size) , 120 f8 and 150 f8. I can't remember but think they made a 200 f8. I had a 65 that I foolishly sold and have a 90 f 4.5 that I replaced my 90 f5.6 S A Linhof select with. Both equal in performance but the 4.5 is a touch brighter.
Fuji made f5.6 and f8 SW series. The f 5.6 cover more than the f8 versions of the same FL. Great lenses too. Some are single coated and some multi coated. Do your research before buying any view lens.
Rodenstock are wxcellent too. They make an f4.5 and 6.3 version of shorter lenses. I had a 35mm Grandagon that I used on 6x9 technikardan and digital back. Superb! The 45 and 55 Grandagon are f5.6. The 75 are in f4.5 and 6.8. I have a 6.8 Valtar version and it's great. I shot a project last year for a client and we did 10ft x15 ft prints from negs shot with this lens. It is sharp!
The 90's are 4.5 and 6.7 also. I have a Caltar badged 115 f6.8. There's no 4.5 made in these longer lenses. They also made a couple of longer wides but don't remember the FLs.
Do your research. Know the difference in the Super Angulon an f8 and 5.6. Also the difference in the above and the XL series with huge image circles. You also need to know what a Symmar HM is vs a Symmar S, Symmar and Symmar XL. Also there is an App Symmar and a Symmar L apo. Schneider has data on these on their website.
Fuji is even more confusing. In the W series (plasmat) there are 3 different ones in most FLs. The first series with writing on the beauty ring have the most coverage and are single coated and the cheapest usually. They are stellar performers with huge coverage. The 125 with the engraving on the inner ring will cover 5x7 and are sharp!
The second series with writing on the outside of the barrel are even different. I'd have to look up specs but believe they have less coverage than the first version and less than the third. The third version I believe has less coverage than the first but more than the second. Confused? The first version are single coated and the others are multicoated if I remember correctly.
I own a several Fuji lenses, 135 W v3, 180 W v3, 420 L (Tessar) and a 300 C which is a unique design. I had a 600 c and 250 f6.7 W and foolishly sold both. My Fuji G617 has a 105 f8 SW on it. Fuji was never officially imported in the US but they are among the finest view lenses.
There are a lot of bargains if you know what to buy and look around. I paid under $350 for my 115 Grandagon. It was listed on KEH as bargain with barrel damage. I bought it and it turned out to be caked on dirt on the barrel that wiped right off. After I cleaned it it was mint.
Each lens maker made a variety of wides. Schneider made both f5.6 and f8. In shorter lenses they offered both up to 90mm in the standard super angulons. 120mm, 165 and 210 SA's were all f8. Some are MUlti Coated and some single. Both are excellent but slightly different due to multi coating difficulties on older formulations of glass. F8 versions have less coverage than the 5.6 versions. SA'a are excellent. I've owned quite a few and still do.
Nikkor made a variety of speeds. In the 65 it's f4, the 75 f4.5, the 90 in f4.5 and 8 (f8 is highly prized for extraccovering and small size) , 120 f8 and 150 f8. I can't remember but think they made a 200 f8. I had a 65 that I foolishly sold and have a 90 f 4.5 that I replaced my 90 f5.6 S A Linhof select with. Both equal in performance but the 4.5 is a touch brighter.
Fuji made f5.6 and f8 SW series. The f 5.6 cover more than the f8 versions of the same FL. Great lenses too. Some are single coated and some multi coated. Do your research before buying any view lens.
Rodenstock are wxcellent too. They make an f4.5 and 6.3 version of shorter lenses. I had a 35mm Grandagon that I used on 6x9 technikardan and digital back. Superb! The 45 and 55 Grandagon are f5.6. The 75 are in f4.5 and 6.8. I have a 6.8 Valtar version and it's great. I shot a project last year for a client and we did 10ft x15 ft prints from negs shot with this lens. It is sharp!
The 90's are 4.5 and 6.7 also. I have a Caltar badged 115 f6.8. There's no 4.5 made in these longer lenses. They also made a couple of longer wides but don't remember the FLs.
Do your research. Know the difference in the Super Angulon an f8 and 5.6. Also the difference in the above and the XL series with huge image circles. You also need to know what a Symmar HM is vs a Symmar S, Symmar and Symmar XL. Also there is an App Symmar and a Symmar L apo. Schneider has data on these on their website.
Fuji is even more confusing. In the W series (plasmat) there are 3 different ones in most FLs. The first series with writing on the beauty ring have the most coverage and are single coated and the cheapest usually. They are stellar performers with huge coverage. The 125 with the engraving on the inner ring will cover 5x7 and are sharp!
The second series with writing on the outside of the barrel are even different. I'd have to look up specs but believe they have less coverage than the first version and less than the third. The third version I believe has less coverage than the first but more than the second. Confused? The first version are single coated and the others are multicoated if I remember correctly.
I own a several Fuji lenses, 135 W v3, 180 W v3, 420 L (Tessar) and a 300 C which is a unique design. I had a 600 c and 250 f6.7 W and foolishly sold both. My Fuji G617 has a 105 f8 SW on it. Fuji was never officially imported in the US but they are among the finest view lenses.
There are a lot of bargains if you know what to buy and look around. I paid under $350 for my 115 Grandagon. It was listed on KEH as bargain with barrel damage. I bought it and it turned out to be caked on dirt on the barrel that wiped right off. After I cleaned it it was mint.