That camera is just the most wonderful piece of art... equipment to hold and and use. I get more joy from it than any other camera i have operated. It is my preferred camera, except that i take my 8x10 deardorff anywhere i can, just so i can get big negatives. But nowhere near the simple pleasure of the chamonix. Hugo was great to work with. It will be worth every excruciating, waiting moment. You will like too the universal bellows. I will give you the stuff that i have to watch for. First, putting the front standard in place is a bit fiddly (but there is no trading what it enables) so i am especially careful. Second, I have to keep an eye on the front standard, particularly swing, after getting the composition, focus all set up for shutter release. There is no zero detent. It is easily bumped without being recognized while adjusting shutter, cocking or other such stuff. I believe that has cost me some images i wish i had better, due to lack of attention. Third, i am not really happy with using the linhof-like lensboards. Hugo's are much better fit and just nicer anyway. i have problems with seating linhof, and when trying to put the other edge down, i have problems with aperture lever interfering, unless i mount shutter a bit off TDC. On the F1 choice, i corresponded with Michael Gordon who does photography in Death Valley. He put me off the F1 in favor of the 45N, and in his workshops he stresses and demonstrates using Scheimpflug principles. the F1 asymmetrical movements were supposed to make that easier but he says not really and there are other compromises made that favor the 45N choice. Congratulations, Tom!