Thanks
Thanks
Thanks for your advice. I do already have a Rodenstock 210mm lens but haven't really had the time to use it much. I was thinking the more I invest the more I will make time get out and start really using the camera, particularly with the wider lens option more suited too landscapes. My aim is to eventually to have a range of lenses that will cover all most things. I will probably go for a 135 or 150 next time.
All lens recommendations welcome. Thanks
Originally Posted by Alan Klein
Thanks for that really valuable info. I think I need to do a bit more research. I never thought about bellows size. With regards the centre filter I had read about this but many say it isn't always necessary.
Apologies but struggling a bit with the how this site works. I have just realised after answering a few responses that I was supposed to enclose a quote first so the recipient realises Im responding to them!
Oh no there are other photos showing really nice clean lenses I just didn't want to overload my post with too much!
The all black shutter (multicoated lens) stops down to f64 vs f45 for the other. If you wanted to take a long exposure (with slightly more diffraction) it would give you the option. I doubt I would notice the difference between the two unless something was wrong with one of them. If the price is the same, I would go for the newer one (higher lens serial number) otherwise I would probably go for the cheaper lens.
I hope you enjoy your camera.
jeff
Looks like a Schneider 90mm f8 super angulon in a later Compur shutter (late 60's to early 80's). Get an image of the lens front element, the serial number will give a date of production range using this chart:
https://ground-glass.net/schneider-lenses-age/
Prime difference between f8, f6.8 -vs- f4.5, f5.6 wide angle view camera lenses of the Biogon style is image circle, not ability to focus.. Yes, larger full aperture can aid in focusing but it is NOT the prime consideration to decide which wide angle lens.. It is much more about image circle, typical 90mm f8 will have an image circle of 216mm -vs- typical f5.6 or f4.5 image circle of 236mm exception being the Schneider 90mm f5.6 super angulon XL with a whopping image circle of 259mm and this WA lens is BIG, the rear element will not fit into a good number of field folders. Later versions of the 90mm SAXL had a modification to allow fitment into cameras with small lens board and front standard openings.. The other exception is the 90mm f8 sw Nikkor which has an image circle of 235mm in a small sized package.
Regardless, the camera (Intrepid) will be the limiting factor on lens performance via camera movement. 90mm lens means compressing the camera/bellows closer to the rear standard which greatly restricts camera movement ability. Solution to this is to use a bag bellows.
Check to see if the Intrepid's front lens board and front standard opening can fit the rear element of the lens of choice before deciding on any lens.. Which brings up the topic of "range of lenses"... camera's ability to properly support a given lens is dependent on the ability of the camera to compress it's distance between front to rear standards and ability to extend the distance between front to rear standards, remain rigid, stable, flexi free and allow minimal restriction of camera movement swing, tilt, shift, rise-fall for both front and rear camera standards.. Unlike lens fixed to the box cameras be they digital or film, view camera lenses are not designed/made with a fixed back focus distance. This demands the camera have the ability to do what the lens focal length demands..
Partial list of modern view camera lenses:
https://www.largeformatphotography.i...s/LF4x5in.html
Keep this in mind for any lens choice. The better way would have been to decide on image goals first, lenses needed to achieve these goals followed by camera that best fits these goals.
As for multicoating -vs- singe coating.. it makes less difference than believed due to the fact view camera lenses tend to be simpler with fewer lens elements than lenses made for digital or roll film cameras. This mean fewer air to glass surfaces to cause internal flare and reduction of light transmission. This is why a uncoated Dagor made circa 1900's produces excellent image contrast due to the limited number of air to glass surfaces. Improvement in flare/contrast is improved by simply casting a shadow on the lens front element using the film holder's dark slide or similar.. Better would be a compendium lens shade. The only image making situation where the most modern multi coatings might make a visual difference is in very extreme back lighting situations which is very specific and not a common way to use any lens..
~Condition of the shutter is one of the greater concerns as many of these shutters are decades young, cycled many, many, many thousands of cycles and often in need of proper care ala Clean-Lube-Adjust.. Vast film burning grief can be caused by a ill feeling shutter in need of proper care.
Do keep in mind, there were no "hobbyist" view camera lenses made by the big four, Schneider, Fujinon, Rodenstock, Nikkor. They designed and produced view camera lenses for folks back then using these lenses to put a roof over their studio, food on their table and keeping the bill collectors from busting down the front door..
There will be a tripod involved, don't skimp on this as the tripod and tripod head is often as or more important than the camera outfit. Tripod stability, vibration control, ability to easily adjust then hold settings and be durable-reliable over the passage of images made are the prime tripod considerations.
IMO, at this point better to make images with that 210mm lens instead of searching for another lens, what is most needed at the beginning of the LF view camera journey is practice, practice, practice burning a whole pile-O-sheet film. As for film exposure apertures, yes, modern view camera lenses are optimized for f22.. This does not and should not mean chronic film exposures at f22 or when in doubt of what is in perceived focus closing the lens down to the smallest aperture on the lens aperture scale.. as image quality will and absolutely does degrade post f45 due to diffraction and this is an unescapable way of Nature..
The cure for this is to apply camera movements as and when needed to improve what is perceived to be in focus. Know all lenses have a single point or plane of actual focus, making the lens aperture smaller improves what is perceived to be in focus.. This previously posted guide on camera movements is a worthy read.
https://www.largeformatphotography.i...ong-amp-Linhof
Bernice
Given good physical condition, any of the 90mm lenses commonly available should be just fine. They were all 'flagship' lenses for their makers, designed to serve a demanding professional clientele.
I've never found f/8 to be a problem when focusing. Schneider, Rodenstock, Fuji, Nikon, Ilex, they're all good.
Any of the common 90mm f/8 lenses should fit the Intrepid as far as being able to mount the lens is concerned. Bigger ones, like the f/5.6 versions may have a too-large rear element to make mounting the lens possible - I don't really know, since I haven't worked with the Intrepid, but that is the case with lots of wooden folding field cameras. You might have some issues with bellows compression when using extreme movements. It that is the case, then a recessed lens board will definitely help. All my 90mm and shorter lenses are on recessed boards.
Multi-coated is definitely a plus. I wouldn't worry so much about not having images of the glass itself if you're buying from a really reputable dealer like KEH. If not, get good pictures and a return possibility if the lens doesn't match the description.
FWIW, I think the f/5.6 90mm lenses are just too larger and heavy. Plus they need a rather larger filter. My 90mm lenses take 67mm filters, which is as large as I go (I like small and lightweight). Get a decent dark cloth and you won't have any problems focusing the f/8 lens.
Center filters are not really necessary if you plan on only working with black-and-white or even color negative film. The light fall-off (a characteristic of short-focal-length lenses; not a defect) is correctable when printing (or in post). If you plan on using color transparency film, a center filter will really be helpful. I've been photographing for 40+ years, black-and-white only now, and have never owned a center filter for my 90mm and shorter lenses. I do give extra exposure and burn in the center of the images when printing though if needed.
As for a lens kit: a 90mm and a 210mm are workhorse standard lenses in just about everyone's kit for good reason. Fill in the gap with a 135mm or a 150mm. My personal preference is for the 135mm, since you can crop the image to get the 150mm view, but not vice-versa. 150mm lenses, however, have bigger image circles than their shorter cousins, so choose according to need.
Have fun!
Doremus
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