Fujinon Fujinon-SW 90mm f/5.6

Buy the f/5.6 instead of the smaller f/8 and you are paying for one thing: the image circle. The SW 90mm throws roughly 235mm of coverage at f/22, which on 4x5 means you can shift and rise until the bellows run out and still land on glass that resolves to the corners. That extra headroom is what architecture shooters are after when they crank the front standard up to keep verticals straight. The size and weight come with it. You accept the lump because the coverage buys you movement.

90mm on 4x5 is the working wide. It frames roughly like a 28mm on 35mm, wide enough for tight interiors and big landscapes without the gymnastics of a true ultra-wide. Fujinon's SW wide-angle design keeps distortion low and holds the field flat enough to keep a building's edges where you put them. Stopped to f/22 or f/32 it is sharp across the frame in a clean, neutral, slightly cool way. Fuji's EBC multicoating handles flare well for a lens this wide, which matters when you are shooting into window light in a dim room.

Wide open at f/5.6 it is bright enough to focus and compose on the ground glass without a cloth fight, and that is mostly what the maximum aperture is doing here. Nobody shoots large format wide angle at f/5.6 for the bokeh. You stop down to f/22 or beyond for depth of field and corner performance, and the f/64 minimum is there because diffraction has not yet wiped you out at small apertures on a big negative the way it would on 35mm.

The honest weakness is bulk and the filter situation. The f/5.6 is a heavy, front-heavy thing next to the f/8, and the 67mm thread is large, so center filters and good ND or grad glass get expensive fast. Light falloff toward the corners is real with a wide like this, and a lot of people end up buying Fuji's center filter to even it out, which costs you another stop or so of exposure.

It cross-shops against Schneider's Super-Angulon 90mm and Rodenstock's Grandagon-N, and it tends to come in cheaper on the used market without losing much that you would notice on film. People still hunt these down because a clean copy in a working Copal 0 shutter is a complete wide-angle large format kit for the price of one fancy 35mm lens. That shutter is a leaf shutter, so it syncs flash at every speed. Meter the scene with Zone Light Meter and add the bellows extension factor when you rack the standards out for anything close, since the indicated f-stop loses real light the further the lens sits from the film.