Ari, I've got the SA 121mm f/8 lens too. On 4x5 it mirrors my 250 on 8x10. Feels like a 35mm lens on a 35mm camera. I haven't tried it straight on with 8x10. It''s pretty wide!Originally Posted by Ari
I bought the thing off Ebay for about $175 shipped. I checked the shutter with my shutter speed tester and to my surprise it was accurate. What a bargain!
I won't take it on a long trip...but one of these days with 4x10 in the redwoods at less-than-infinity and f/64? The Zone VI 8x10 has plenty of rise/fall and shift to get the lens centered on the 4x10 section of film to be exposed. I already have a light little Wollei Graphic Raptor 210mm barrel lens that does cover 4x10 and 8x10 just fine...but shutters are so fine, though...
"Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China
What a lens, eh? I keep mine on 4x5, but in a pinch it could work on 8x10.
I'll keep using my 120mm f6,8 Dagor, it's so small amd light and overs 7x5
Ian
I'm not ashamed to admit that I like the lenses that our esteemed Jim Galli does not like.His work is nailed-down. I appreciate it very much, but differ.
A 14 3/4" fast(ish) lens I bought from Jim remains a favorite of mine for 8x10.
Edit: I'm through with lenses that have no shutter. Sure, my studio camera has a huge Packard shutter with sync, but I'm over it. Ma Faute!
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There are at least a dozen Fujinon lenses that might meet your needs. Check them out at
http://www.subclub.org/fujinon/lensgraph.gif
Some are older, some newer, some hard to find, some easy.
Yes, 8x10 is indeed a different ballgame. And that's part of what makes it so much fun!
8x10 was the "go to" format for so may years. And because of that there were many, many lenses designed for it. So today, those of us with a taste for the arcane and archaic enjoy a plethora of choices.
There are probably so many 14" lenses out there that you'd go nuts trying to count them all. In fact, after years of collecting, I ended up with so many [14" lenses] that I had to start getting rid of them. Alas, I do still regret selling that 36cm Heliar...And yes, Heliars were made in focal lengths for 4x5. But it is in 8x10 that the Heliar seems to take on the persona that we love. That's the difference in the ballgame (at least the way I see it). The portrait lenses just don't mean the same in 4x5 for some reason...
But not just the portrait lenses. The commercial lenses, too, the ones which were designed to be semi-soft and flattering wide open and sharp closed down (so that the working stiff of a photographer might get by with the investment of just one lens and not a vault-full) were largely designed in focal lengths for 8x10. I refer to lenses like the Gundlach Radar. Take a look at the Portraits thread on this forum and you'll see what I mean. 8x10 is a different ballgame and it's a great one! The redoubtable Kodak Commercial Ektar is itself among that bunch. Yes, the prices of Ektars have risen over the last 20 years (what hasn't?), but it's still a bargain among lenses for the 8x10 and would be my recommendation for a solid 8x10 lens (if my opinion means anything. Ha!)
On a personal note, I have a Cooke f/6.3 Series XIV, purchased years ago from an esteemed member here, which I adore. A pleasing glow wide open, yet quite sharp stopped down, this lens makes me want to drag that 8x10 out and use it.
It's a great ballgame!
8x10 is my go to format and although I have collected a broad array of options to consider, in the landscape West the 450m and the 600C get the most usage. Mid distance the 355 G Claron is the go to lens because of the enormous coverage for movements and the razor sharpness. Macro it is usually the 240mm Doctor or the 355 G Claron. I have two 12" lenses and it has been years since I have taken them out of the case. Keep them around just in case just like the 30" Red Dot.
I must say, this has been a really interesting thread. Given some of the limitations of needing such a large image circle for 8x10, it shows how many have explored the "corners" of the available lens space. I look forward to visiting some of these corners.
The 250mm f6.7 is my standard lens in that focal length, if for no other reason, because of it's size. But, it's a great 8x10 lens. However, other "inside lettering" lenses kind of escaped my notice. The discussion of the 180mm Fujinon (inside lettering) was interesting. While it's pretty thin on 8x10, if I become more involved in 5x7, I'll get this lens. It's inexpensive, and it's pretty easy to find. I think that I'll also keep my eye peeled for an "inside lettering," 300mm Fuji.
Another 300mm lens that occurs to me is a convertible Symmar. It's my understanding that, because of their construction, they can be stopped-down for additional coverage more effectively than say, a Symmar-S.
Perhaps because of some of the image circle challenges, I feel that 8x10 is more for fine-art, landscape, or portrait photography. This works fine, because 4x5 is always available for more "logistical" photography, like architecture. With that said, it would be interesting to hear what Ezra Stoller might have said in this conversation. His architectural work using an 8x10 is amazing.
Given my brief experience with an 8x20 I was "inspired" to purchase during 2015, I found examples of a 355mm G-Claron that I bought from Kerry, a 450mm M, and a 600C. The 600C was sheer luck, as I otherwise, could never have afforded the cost. I happened to stumble across one for $1000, when I also had some extra room on my credit card. So, I have a nice spread. But, I see that there are some other avenues to explore as well.
Thanks for all the input.
At first I only had the Nikkor 300 mm M and that was the only lens I used for big project. I carried a Temba shoulder bag with the Tachihara 8x10" folded, the lens + 3 holders. Then I added the 250 6,7 Fujinon and the Nikkor 45O M. Later I got the Schneider 150 XL and the Fujinon 600 C. When you have a long lens like the 600 mm you need a big Ries tripod. At the beginning I could run around with my one lens 8x10" kit, now I need a station wagon and an assistant when shooting the big format.
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