But this sounds like a technique issue. Did you realign the rear standard to vertical, and only afterwards adjust the front tilt?
Excellent -- you'll like the 250/6.7. With 8x10, even a bad day of photography is a good day of exercise.
"I am getting up at 4AM, skinning uphill 3,000 vertical feet and getting sunrise landscapes on average three days a week." I am twisted enough to imagine looking up at 3000 vertical feet of blood-stained snow blending with the colors of the new day.
A "dog" of a Fuji lens is about as common as a giraffe with swimming flippers, unless someone has sold a bait and switch lens with mismatched front and rear elements. The 250/6.7 allows moderate movements on 8x10 film well stopped down. It is not a true wide angle design, but a relatively modern 80 degree plasmat, and a very good one. But this sounds like a technique issue. Did you realign the rear standard to vertical, and only afterwards adjust the front tilt?
When we replaced Berkey Photo Marketing as the USA distributor for Rodenstock a condition of our contract was that we had to take over their existing inventory of lenses.My Linhof 150mm Zeiss Tessar doesn't even focus to a sharp image, I was given it for the cost of postage from Australia by a late member here on that basis.
It's not unknown for second-hand lenses to come with the wrong rear cells, there was a case on this Forum a year or two ago, so the OP's idea of photographing a brick wall is a good test, it's a rare occurrence and usually done deliberately. While it's unlikely it's better to be sure.
Ian
At least there will be some solid rock somewhere. I gave up on big clunker lenses in the mountains back when I was still a teenager in my mid-40's.
240 Apo Sironar S, not 250mmI 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.
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