Which medium lens 130 or 150mm for Sinar F2

[Jean Nightingale]

Looking for a medium length lens for my Sinar F2. Using it for cathedral interiors so need to be able to lift front without vinyetting. I have a 90mm. but it is so dark to see that I'm waiting for my Maxwell screen to arrive. Also looking at Frederick Evans work I'm not sure I want the vast views.Any simple advice gladly received.I know there's an article on home page but its very technical.
Jean N.

[Ron Marshall]

Unless you opt for a heavy and expensive lens such as the Schneider SSXL 150, the most rise from currently available lenses in your range is SSXL 110: 82mm, Rodenstock APO Sironar S: 50mm. If I remember correctly, the combined rear fall and front rise on the Sinar F2 is 100mm. So the SSXL 110 will get you close to that.

[Frank Petronio]

Faster lenses and darker dark clothes are the answer. Sometimes the fresnel screens introduce more hassles than they are worth with wide angles. I tried several, I prefer naked ground glass and a good 9x loupe.

Try to keep things real dark and let your eyes adjust.

For the money, a 150 Sironar-S (not the N) gives a lot of coverage and quality.

[JJ Viau]

I am using a F2 with a 110 XL, also for architecture and I never saw the end of the image circle. As a complementary lens I use a 210 and increasingly a 180mm since a 150mm plasmat just does not cover enough!

[Robert Ley]

For Cathedral interiors you may want a lens a little wider, say a 135 or a 120. The Schneider 110 SSXL was mentioned and that would be a great lens with a large IC. The 120 Super Angulon has almost as large an IC, but is f:8. I have a 135 WF Ektar that has a large IC for a 135 (230mm) and might work well for you also. When your Maxwell screen arrives you should have alot less problem with your 90 f:8. They are great screens and you will never regret the $$$$ spent. Where are you located and what Cathedrals are you shooting?

[David Karp]

There are so many tradeoffs. A 150mm is nice for architecture, especially if you don't need the expansive views offered by the wider lenses.

I think you will find that the 135mm lenses don't have a lot of extra movement. Even the Fujinon CM-W, with its 208mm image circle does not give you that much. In contrast, an APO-Sironar-S 150mm gives you a 231mm image circle, and a 150mm Schneider APO-Symmar-L gives you 233mm. If you are looking for a less expensive used 150mm, a good choice would be an older Fujinon NW (labeled W on the lens barrel), which is EBC multicoated and has a 224mm image circle. I have one of these and like it.

Other alternatives: a Fujinon CM-W 125mm f/5.6 with a 204mm image circle (it gives a wider angle and almost as much circle as the 135mm Fujinon), and a 120mm f/5.6 Super-Symmar HM with a 211mm image circle. I have the older 125mm Fujinon NW (labeled W on the barrel). I really like it a lot, but sometimes the 198mm image circle is limiting for architecture. The focal length is really nice for architecture when it works.

All of the above is assuming that you don't want any of the big, heavy, expensive lenses like the 105mm f/8 Fujinon SW, 115mm f/6.8 Grandagon N, 125mm Fujinon f/8 Fujinon W, or 120mm f/8 Nikkor W or Super Angulon. These all have big, big image circles that give plenty of rise. The Nikkor covers 8x10.

Of course, that 110mm Super-Symmar XL is an awesome lens if you can afford it and its 288mm reported image circle and f/5.6 max aperture.

[JW Dewdney]

I wouldn't be too concerned with coverage if I were you. It's a red herring. Be concerned with angle of view. i.e. - you will need rise on the 150 just to get the same angle of view (on the ceiling, say) that the 135 already has covered with NO movement. Sorry there are no easy solutions. You need to go to the space and figure out where you want to put the camera - then figure out what details you want in the scene.