That looks like a good lens. I've been very happy with the 210mm version of that lens (mine's a Caltar, but same lens). I paid $150 as a point of reference, though Caltars sell for less than the Rodenstock versions of the same lens.
A good 5x7 standard lens?
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Good thinking. It's the perfect "normal" 5x7 lens.
I think you should click "Buy it Now" immediately. On my Ebony SV57, I've used several 180mm lenses, including a (single-coated, 80-degree) Fujinon W, f/9 Fujinon A and the Sironar N. I'm extremely critical, testing the performance of each under a variety of real-world shooting situations. The 180mm Sironar N was best of all in terms of sharpness across the field, lack of field curvature and flare resistance. The only thing it gives away to the Fujinon W is a bit of coverage. I had S.K. Grimes machine a custom replacement baseplate for the Ebony that includes an integral Arca-type dovetail and a well for the lens. That means the 180mm Sironar N plus filter can now fold inside my camera. You won't go wrong with that lens.
OP
OP
I just bought it!! Thanks guys for your help!!
A good buy -well done, I like my 150mm Sironar-N it's one of my favourite LF lenses and the 180mm will be just as good.
Ian
That's my favorite! Dang those negs are sharp! (The metal lens hood is great, too -- make sure it comes with it).
Whoops -- a bit late, I see! Well - if you ever want to go a little longer....
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- Format
- 8x10 Format
Official "normal" related to film diagonal, and personal concepts of "normal" angle of view are not necessarily the same thing. Some people
lean wider, others narrower. Like many large format photographers, my first rig was a 4x5 equipped with a 210 lens, which was common pro practice because this gave a larger image circle with much more even illumination than a true 150 normal, and let one home in on portraits and details better. I just picked up on this from my older brother, because when he was in pro photo school, they taught the students to first invest in a 210 for general use, and then add a 90mm next for architecture, based on the logical assumption that the students were going to be relatively poor after paying their tuition! So I came to accept 210 as my normal lens for 4x5, and something like 300 as normal for 5x7. But over time I gravitated to any even longer persepective, and now regard 250 as my normal for 4x5, and anything shorter as kinda wide-angle. So it's all relative. The nice thing about view cameras is that, if you have enough image circle to
begin with, you can use the same lenses on 4x5, 5x7, and 8x10. The longish one on 4x5 becomes a wide angle on 8x10, with 5x7 applications somewhere in between. There are all kinds of choices out there; but lately, smaller lenses have become more popular for sheer portability. Something like a 240 Fuji A or 250 G Claron would make a wonderful 5x7 lens, if you like hard-sharp with tons of wiggle
room and exceptional close-range performance (great at infinity too). Otherwise, there is a glut of excellent well-priced 210 plasmats out
there, for precisely the reason I first explained.
lean wider, others narrower. Like many large format photographers, my first rig was a 4x5 equipped with a 210 lens, which was common pro practice because this gave a larger image circle with much more even illumination than a true 150 normal, and let one home in on portraits and details better. I just picked up on this from my older brother, because when he was in pro photo school, they taught the students to first invest in a 210 for general use, and then add a 90mm next for architecture, based on the logical assumption that the students were going to be relatively poor after paying their tuition! So I came to accept 210 as my normal lens for 4x5, and something like 300 as normal for 5x7. But over time I gravitated to any even longer persepective, and now regard 250 as my normal for 4x5, and anything shorter as kinda wide-angle. So it's all relative. The nice thing about view cameras is that, if you have enough image circle to
begin with, you can use the same lenses on 4x5, 5x7, and 8x10. The longish one on 4x5 becomes a wide angle on 8x10, with 5x7 applications somewhere in between. There are all kinds of choices out there; but lately, smaller lenses have become more popular for sheer portability. Something like a 240 Fuji A or 250 G Claron would make a wonderful 5x7 lens, if you like hard-sharp with tons of wiggle
room and exceptional close-range performance (great at infinity too). Otherwise, there is a glut of excellent well-priced 210 plasmats out
there, for precisely the reason I first explained.
A 203 Ektar won't give you hardly any wiggle room on 5x7. The 210mm Drew mentions will work, also the 215 Ilex Acuton. 240 G Clarons rock and will cover anything up to 8x10.
The 203mm f7.7 Ektar like it's predecessor Kodak Anastigmat was designed to cover 7x5 and have some room for movements.
Ian
Ian
And indeed they work well, just not a lot of wiggle room. It depends on your needs and what you're used to I guess. I use a 203 on a 5x7 Speeder but there isn't a lot of wiggle in that camera. A 215 Acuton OTOH offers a lot of acreage for the buck if you have a need for it.
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