I looked up Arne's ACTUAL tests of his own respective samples of 240/250's. One of his samples was an old inside-lettered version of a Fuji W which I cannot comment on. He had a very high opinion of the Fuji 240A clear up till around the full 80 degree coverage point, which precisely coincides with my own estimate. I use mine primarily for 4x5 and only once in awhile for 8x10, where caution must be used with movements if one expect exceptional sharpness in the extreme corners on BIG prints. Nobody would even notice the difference on a 16X20 print, much less a contact print. The 360A has a ton of wiggle room for 8x10, but I wouldn't consider it acceptable for 11X14 unless straight on, no movements. The kindred G-Claron 355 probably isn't any sharper at all, but being in a larger no. 3 shutter, has less mechanical vignetting, so will work for certain ULF purposes. The 360A is so sharp that I routinely use it not only on 8X10 and 4X5, but for 6x9 roll film backs too, which demand significantly more magnification in print. There was a 240 Germinar sold recently for around a $1000. Sal and I often differ in details of advice, to phrase it mildly. In the case of the above post, I'd take his usual cynicism with a grain of salt, since many other users of these superb lenses know better. You'd literally need a loupe to see all the detail in a 20X24 or even 30X40 print made on a polyester medium like Cibachrome or Fuji Supergloss from a color negative or chrome using a Fuji A anything, comparable focal length G-Claron, or Fuji 250/6.7, - and I've done many many of them. Talking about some other lens "running rings" around the other might be slightly true, but is visually irrelevant. I could say the same thing about Apo Nikkor lenses, which are also distinctly sharper and better corrected than ordinary taking lenses, but less practical in the field. If there is a blatant differential, perhaps the best investment is not another lens unless it's a better focus loupe! But I should add that I take 8x10 color shots with adhesive film holders that hold the film truly flat; and that variable by itself is far more important when making big enlargements than nitpicking between multiple high-end lens options.