I have hundreds and of both negatives in multiple formats, clear up to 8x10, and prints up to 30X40 inches, taken with a 240A. Many people prize the 240A. If you are shooting 8x10 with it, you of course need to have it stopped down to around f/45 or f/64 to get sharp detail out in the far corners with moderate movements. Viewing through this lens wide open won't provide you with that information. It should be very very very sharp all the way from near-macro to infinity at the center from maybe f/11 all the way down till diffraction starts setting in around f/64. Even then, the degree of image loss should be almost invisible unless you're planning on making really big prints. I doubt you have a "dog" lens. The biggest dealer of Fuji in this area during the apogee of large format in the 80's told me that Fuji quality control was more consistent than any other brand, and they had never had a single Fuji complaint. But someone along the line could have pulled a bait and switch trick substituting a rear component from something else. Now as per coverage... Fuji literature does tend to list image circles a bit too optimistically, whereas the German specs for analogous G-Claron lenses are ridiculous conservative due to these being originally marketed for graphics standards far more stringent than those for general photography. But having used several of these lenses extensively, I feel quite comfortable stating that the real-world images circles comparably stopped down for the 240 Fuji A, 250 G-Claron, and 250/6.7 Fuji W are very similar. You might find a Computar f/9 or Kowa Graphic or rather rare Apo Germinar f/9 with somewhat improved corner performance in a lightweight package. You could also fit a 240/9 Apo Nikkor into a no.3 shutter, but it would be sheer overkill and a more bulky. I omit the 250 Apo Sironar S because it's as big as a draft horse; and once you get into true wide angle lenses you get more serious distortion and falloff issues.
