Fujinon GX lenses on digital medium format

[Nokton48]

SONY DSC by Nokton48, on Flickr

The Fuji GX680 Lens Set, from left 125mm F5.6 GX680, 210mm F5.6 GX680, and right the 250mm F5.6 GX680. All neatly shuttered Seiko LS23 Shutters from Fujinon WS lenses. lensboards 3D printed from the Guy in Italy, light seals added by me using Rotary Cutter to cut strips. Works good Minolta SRT Cable Releases (Good Ones!) 82mm Yellow Filters, Rubber Lenshood. Lens on left not finished, needs JB Welded Ring to board, back cell lip removed by me with grinder (to back focus on Makiflex) now needs brush painted with Krylon. Also I will Krylon the back of the lens board to make sure no leaks.

 

[Nokton48]

SONY DSC by Nokton48, on Flickr

The last of my Fujinon Gx680 to Plaubel Peco Junior conversions. The 125mm f5.6 GX680 is a great lens and is not 'spensive. Fits good in a Seiko LS23 Shutter which is properly marked starting at F5.6 Yellow filter and Rubber Hood, will add Minolta SRT Cable Release and it's almost ready to go. I still have to JB Weld the very large mounting ring to the biggie cutout on the Peco Jr metal board. Fits perfectly I also re-did the light trap on the back board with some black adhesive foam cut to fit. Right now it's usuable but held together with the blue masking tape LOL

 

[rdeloe]

SONY DSC by Nokton48, on Flickr

The last of my Fujinon Gx680 to Plaubel Peco Junior conversions. The 125mm f5.6 GX680 is a great lens and is not 'spensive. Fits good in a Seiko LS23 Shutter which is properly marked starting at F5.6 Yellow filter and Rubber Hood, will add Minolta SRT Cable Release and it's almost ready to go. I still have to JB Weld the very large mounting ring to the biggie cutout on the Peco Jr metal board. Fits perfectly I also re-did the light trap on the back board with some black adhesive foam cut to fit. Right now it's usuable but held together with the blue masking tape LOL

I really like this one. I'm convinced (with no evidence whatsoever to support my firm belief!) that this is the Fujinon-W or-CW 125mm f/5.6 large format lens in a GX housing. It's not eye-wateringly sharp on a GFX 50R sensor, but it's more than sharp enough, has a very pleasant rendering, and image room to spare. I don't use it a lot, but it's a keeper.

 

[FloatingLens]

I have a similar experience with the Fujinon-W glass. I knew that the 5,6/105 was very sharp with film (but little to no movements on 4x5).
Recently, I tried that lens with the CFV II 50c and the results were impressive at the center of the image circle. Perfectly usable, high contrast and sharpness. Needless to say this lens is a hidden gem, especially for digital use. I did not expect it to perform that well. So, I can relate to the above statements.

 

[cuida1991]

I have a similar experience with the Fujinon-W glass. I knew that the 5,6/105 was very sharp with film (but little to no movements on 4x5).
Recently, I tried that lens with the CFV II 50c and the results were impressive at the center of the image circle. Perfectly usable, high contrast and sharpness. Needless to say this lens is a hidden gem, especially for digital use. I did not expect it to perform that well. So, I can relate to the above statements.

What's the performance when shifted?

 

[rdeloe]

What's the performance when shifted?

I don't have the 105mm that @FloatingLens is using, but I did have its sibling the Fujinon-W 125mm f/5.6 -- a leftover from my switch from large format film to digital. Below is a 100% view of the farthest I was able to shift it on my GFX 50R. The black bar you see on the right hand side is the hard limit of shift on a GFX camera; it's caused by the top edge of the "cavity" in which the sensor resides. This happens at different shift distances depending on the lens; sadly I didn't record the amount of shift for this image, but it likely was 30mm.

I wouldn't hesitate to use this lens for professional work today. I didn't keep it because as a large format lens, it needs more bellows than the digital view cameras I have now can comfortably provide. Another consideration is that on my 50R, these Fujinon-W lenses have an interesting colour, which you can see in the blue of the sky here. They didn't t mix in easily with my other lenses. The GX 680 125mm f/5.6 that I did keep doesn't seem to have this same colour. It performs just as well as the Fujinon-W 125/5.6. It also mounts more easily on my setup because of the way I rebuilt it.

 

[Nokton48]

SONY DSC by Nokton48, on Flickr

This all fits in the small Zone VI White Bag, looks like a picnic cooler. Restored Plaubel Peco Junior body with Jim Galvin Glenn Evans Graflex Roll Back modded to Peco Junior. Made to nicely hold Singer Graflex 120/220 Roll Backs. Two RH8 2.25x3.25, two RH10 6x7cm, one 220 RH20. Three Fujinon GX680 lenses modded to Plaubel Junior Boards. From the left, the 125mm F5.6 GX680, then the 50mm F5.6 GX680, then on the right, the 180mm F5.6 GX680. All three lenses work perfectly with the standard length Plaubel Peco Jr Rail. Film loaded is Ilford PanF+, Ilford Delta 100, Shanghai 220 EI 100, Maco ORT25, Ilford FP4+, Ilford HP5+. So this I'll be taking out this spring, on an olde Star-D tripod. The tripod has a shoulder strap for traveling, and the bag is HEAVY but has everything I need plus room for odds and ends. Apertures on the shutters fully correctly marked, and verified through direct measurement of the lens front irises. All now perfect ready for fully testing. Eight 120 test rolls have yielded perfect frames, some outside tests and some studio stuff. Will post photos soon. These lenses are sharp enough for digital medium format. Hmmmmmm

 

[Nokton48]

SONY DSC by Nokton48, on Flickr

Fred Newman at The Darkroom Store looked around for me, and he had in stock, a smaller version (fits about 18x18 inches), perfect for my two Peco Juniors. This finishes my basic kit for these cameras and it works great, will get used to it. Since I have three Spring-Loaded Sheet Film Backs, The Galvin 2x3 (fits Graphic sheet and lever wind roll backs), The Plaubel Makiflex #526 Bail Back (fits 6x9 and 2x3 Linhof Glass Holders!, and finally, a grey 6x9 European Peco Jr Sheet Back, which came with dedicated 6x9 single shot holders, and a couple of double sided, too. This hood works with all of these, and is very well designed to be useful to me. Much nicer than the olde horse blanket! Camera shown with my Fuji GX680 180mm F3.2 in Seiko Shutter.

 

[Mollusk]

The circle of good definition (the good part of the image circle) is the highlight of these lenses for me. It’s actually larger than I can use on a GFX camera. At around 30mm rise in portrait orientation I start seeing hard vignetting from the opening of the cavity that holds the sensor; if I keep shifting, I don’t hit the edge of the image circle until past 36mm. I have long enlarger lenses that can pull this off, but nothing in the 65mm range.

In an earlier thread on the forum I asked about the register distance. I can confirm that it is different for every focal length. However, the register distances for the lenses are closer together than they would be if these were symmetrical lenses. Fuji used lens and housing designs that allow every GX lens to fit on the standard GX680 body. This means the long lenses are telephoto and the short lenses are strongly retrofocus. I estimated a register distance of 186mm for the GX 250mm f/5.6, and 125mm for the GX 65mm f/5.6. The housings add a “fudge” factor. In the wider lenses, the flange (the side of the shutter that would be in front of a lens board when mounted) is at the rear face of the housing, while on the longer lenses, the housing has an extension that locates the flange closer to the middle of the housing (and thus forward of the mount point).

A downside of these lenses for people who want to travel light is they’re big, and have large filter threads. The smallest front filter thread is 82mm (e.g., my 250mm and 210mm). Many are 95mm (e.g., my 65mm), and some are 105mm (e.g., the 50mm f/5.6). The housings only weigh around 300-350 grams, so on a lens like the GX 50/5.6, which weighs 1,250 grams, most of the weight of the lenses is the optics.

If you attach the unmodified lens to your camera, you can use the aperture by fixing the stop-down lever in place. You can’t use the Seiko #1 electronic leaf shutter because it’s controlled by the body. However, Fuji used a design that leaves the shutter open when the lens is off the body, so unmodified lenses are usable (unlike Mamiya lenses for the Mamiya 6 and 7, where the shutter is closed by default). I tried doing this, but I didn’t enjoy using the lenses this way at all; also, I didn’t want to haul around 300-350 grams of useless weight in the form of the housings.

I can provide details on how to disassemble these lenses if anyone is interested. In a nutshell, with a few simple hand tools you can strip the lens down to the front and rear cells, and the Seiko #1 shutter housing, with everything removed from the shutter except the aperture mechanism. The hardest part of the process is removing the lens cells. Fuji used thread locker to hold them in place so they don’t come out easily. Brute force will get the job done.

The "Simplified" GX 210mm f/5.6, and the bits left behind.
View attachment 191466

Hello,
I am so glad to find this information. I tried to look at your google doc for the 65mm and it is no longer available- understandably so. I have a very simple need currently and that is just to replace the rear element or rear cell of my 50mm 5.6 with another one from a parts lens that I have. The rear cell on the parts lens easily unscrews and the housing around it is broken so I have full access to it. I have attempted to unscrew the rear cell on my complete lens and it just will not budge. I would remove the back plate/cover to further investigate but beyond the obvious 4 screws on the back there are some incredibly small screws which hold the electric contact to the plate and they seem to be the only thing stopping me from removing the rear cover. The area where you would expect to see some type of screw (near electric contact) truly looks pretty much flat on my copy. I wouldn't even know where to apply pressure and I am afraid I would just make a mess of it. Any guidance on this would be super appreciated. Since this rear cell suffers from haze I don't care much for it and I have used some rubber and given it a pretty hard twist. Is it just thread locker or are there some type of locking pins that I cannot see. Can I leave the back plate/cover on as it is? I removed the small collar already that screws into the body of the rear cell at the end of it. I have a shoot coming up and the client is requesting film

 

[rdeloe]

Hello,
I am so glad to find this information. I tried to look at your google doc for the 65mm and it is no longer available- understandably so. I have a very simple need currently and that is just to replace the rear element or rear cell of my 50mm 5.6 with another one from a parts lens that I have. The rear cell on the parts lens easily unscrews and the housing around it is broken so I have full access to it. I have attempted to unscrew the rear cell on my complete lens and it just will not budge. I would remove the back plate/cover to further investigate but beyond the obvious 4 screws on the back there are some incredibly small screws which hold the electric contact to the plate and they seem to be the only thing stopping me from removing the rear cover. The area where you would expect to see some type of screw (near electric contact) truly looks pretty much flat on my copy. I wouldn't even know where to apply pressure and I am afraid I would just make a mess of it. Any guidance on this would be super appreciated. Since this rear cell suffers from haze I don't care much for it and I have used some rubber and given it a pretty hard twist. Is it just thread locker or are there some type of locking pins that I cannot see. Can I leave the back plate/cover on as it is? I removed the small collar already that screws into the body of the rear cell at the end of it. I have a shoot coming up and the client is requesting film

It's been a while since I worked on one of those. However, I found some notes I made. This is the 250mm, but the construction of the lenses is similar. I can't find any notes on the 65mm.

Fujinon GX 250mm f56 disassembly.pdf

drive.google.com

The rear cell is not held in with screws or pins. You just have to twist it really hard. The best tool for the job is a pair of new "nitril" gloves. These are the cheap fabric globes that have a rubbery inside surface that is incredibly grippy. If it still doesn't come off, see if you can dribble some acetone (nail polish remover) into the space where the cell meets the mating surface. If that doesn't work, seeing that you don't care about the cell, heat it up, let it cool, and try to get it off again. Heating it will expand the metal, which when it shrinks may loosen it; the heat may also break the glue bond. The last thing to try is a tool. Grab onto the rear cell with large pliers and have at it; that's not something you'd do with a lens you want to keep, but it's already wrecked if you heated it.

Good luck!

 

[Mollusk]

It's been a while since I worked on one of those. However, I found some notes I made. This is the 250mm, but the construction of the lenses is similar. I can't find any notes on the 65mm.

Fujinon GX 250mm f56 disassembly.pdf

drive.google.com

The rear cell is not held in with screws or pins. You just have to twist it really hard. The best tool for the job is a pair of new "nitril" gloves. These are the cheap fabric globes that have a rubbery inside surface that is incredibly grippy. If it still doesn't come off, see if you can dribble some acetone (nail polish remover) into the space where the cell meets the mating surface. If that doesn't work, seeing that you don't care about the cell, heat it up, let it cool, and try to get it off again. Heating it will expand the metal, which when it shrinks may loosen it; the heat may also break the glue bond. The last thing to try is a tool. Grab onto the rear cell with large pliers and have at it; that's not something you'd do with a lens you want to keep, but it's already wrecked if you heated it.

Good luck!

Thanks for the quick reply Rob! The first thing I wanted to confirm was that I could really bear down on the rear group without breaking anything else. In my initial attempt the plastic housing started to feel like it was vulnerable to my yanking. The rear cell is a throw away as I already tried myself to clean the haze and in the process dropped one of the elements on the ground... but I do not have replacement parts for the shutter housing and rear plate so I am moving forward simply trying to unscrew the one in there and replace it. If heat would only mess up the rear group itself then I am fine with that but I do need the rest of the lens to be functional once I replace it. Would heating it up mess up other aspects of the lens?

Just to confirm, other than getting a better grip on the group I don't necessarily need to remove the rear plate for this operation correct? Removing the rear housing is looking like a tough thing to accomplish without losing some functionality. When I remove the 4 screws it rattles a bit like it's loose but is clearly still adhered.

 

[rdeloe]

Thanks for the quick reply Rob! The first thing I wanted to confirm was that I could really bear down on the rear group without breaking anything else. In my initial attempt the plastic housing started to feel like it was vulnerable to my yanking. The rear cell is a throw away as I already tried myself to clean the haze and in the process dropped one of the elements on the ground... but I do not have replacement parts for the shutter housing and rear plate so I am moving forward simply trying to unscrew the one in there and replace it. If heat would only mess up the rear group itself then I am fine with that but I do need the rest of the lens to be functional once I replace it. Would heating it up mess up other aspects of the lens?

Just to confirm, other than getting a better grip on the group I don't necessarily need to remove the rear plate for this operation correct? Removing the rear housing is looking like a tough thing to accomplish without losing some functionality. When I remove the 4 screws it rattles a bit like it's loose but is clearly still adhered.

Keeping in mind that it's been years and I don't have one in front of me...

The cell goes into the shutter housing. As long as the shutter housing is locked down tight with the locking ring, you should be able to bear down on the cell without damaging anything else.

If you read that slide deck of notes I linked above, on page 6 in the deck you'll see a note where I said I had to use a metal plate in a vise across the two notches in the rear of the cell. What I meant by that is the metal plate goes in the vise. I then held the lens in my hands, fitted the plate into the notches across the rear of the cell, and twisted. That broke the glue bond and released the cell. This should be your first step.

I would try acetone first before heat if the above trick doesn't work. Given that the cell is junk anyway, assuming you have room you could dip the whole cell carefully into a pan of acetone so that the acetone just covers the mount surface but doesn't get into the lens. Let it sit for an hour, and then try to twist it out.

Regarding heat, you're not making it red hot. Start with a blow dryer on high for 10 minutes. If that doesn't work, you could move up to a torch -- but you have to be very careful not to melt anything else. The cell goes into an aluminum housing that holds the shutter, so heat will transfer.

Needless to say, "No guarantees are expressed or implied and you're doing all this at your own risk!"

 

[Nokton48]

How to remove a 65mm GX680 stuck rear cell by Nokton48, on Flickr

Hey Mollusk,

Here is how I removed mine. Looks like I used heavy pliers and wrenched it apart. Note the scratches. No harm done, a few dabs of Flat Black Krylon on a fine brush will fix those.

 

[Mollusk]

Thanks for this, is that the 50mm? My rear group is longer. In general, I guess it's safe to really wrench down on this thing to break it free. I've been hesitant but I'm going to look for a good tool and have at it...hoping for the best lol

 

[Nokton48]

It's the 65 f5.6 GX680; I enjoy looking through mine. Yesterday looking through my Printer's Loupe, it looks acutely sharp on my 6.5x9cm Plaubel Peco Junior. It's really got quite a big image circle too. But Yes, I also have the 50mm. Now that lens is a MONSTER

SONY DSC by Nokton48, on Flickr

The 50mm GX680 is the second from the left; you can see what a honkin' big rear cell it has; incredible lens. Can use the whole image circle with the Plaubel Junior.

 

[Nokton48]

SONY DSC by Nokton48, on Flickr


Fuji GX680 65mm F5.6 bought cheaply, cells transplanted into a Seiko Shutter from a WS Fuji lens. Lens Board from Italy 3D printed, light trapping added by me with adhesive black foam strips cut on Rototrim. extremely sharp looking through my Olde Printer's Loupe on the groundglass. I am pleased, this lens has a large image circle and is easy to focus at F5.6. Minolta SRT Cable Release is a fave and super heavy duty.

 

[ConnorM]

And for those who like the gory details of tearing lenses apart, someone asked me for a copy of the detailed pictures and notes I made, so I put them up here in a PDF. These are for the GX 65mm f/5.6, but Fuji was very smart about the design of these lenses. There are differences among the lenses in how they're put together, e.g., the short ones have a two piece housing, while the longer ones have a three piece housing that allowed for the flange to be extended forwards. However, once you get inside, it's all the same.

https://drive.google.com/file/d/1ypw6jCo3sE9_8Jzxn0kOoNJ2-mhzfDpp/view?usp=sharing

Hi Rob,

Thank you for charting a course for other GX lens owners. I am interested in trying the same with a series of lenses, starting with the 80mm 5.6 due to expense.

Can I politely request a copy of the PDF, please? the link above is inactive now.

Regards,
Connor

 

[rdeloe]

Hi Connor. Here's a link to a PDF I made explaining how to do the 250mm. I can't find the PDF for the 65mm, but it will be similar to this one.

Fujinon GX 250mm f56 disassembly.pdf

drive.google.com

 

[EachFOUND]

Long version: The Fujinon GX system is a robust professional 6x8 medium format camera that provides movements on a full range of lenses, from 50mm through 500mm. People still use this system as intended, but judging by the sale price of the equipment, it’s not popular.

Wikipedia has a good article that provides pictures and information about the lens lineup. https://en.wikipedia.org/wiki/Fuji_GX680

Some lenses from medium format film cameras are in heavy use on digital medium format cameras today because they’re easy to adapt. Pentax 645, Mamiya 645 and Hasselblad V are examples. Fujinon GX lenses are not readily adaptable; I have yet to encounter someone who uses them on a digital camera that isn’t the GX680 with a medium format back. The lenses are large, boxy, and just about impossible to attach to anything other than a Fuji GX680 camera body. As a result, they sell for very little money.

For most people looking to adapt lenses on digital medium format cameras, there are easier choices. I use many lenses that are smaller, lighter and don’t require rebuilding the lens. However, I was intrigued by the Fujinon GX line because it has a massive image circle (120mm for all but the 50mm f/5.6) and the lenses have register distances that work well with my setup and allow for huge movements.

I first looked at the GX line because I wanted a 250mm lens for my Toyo VX23D and Fuji GFX 50R outfit. Large format 250mm lenses don’t work because the register distance is too long for the VX23D body (unless custom long bellows and rails are used). Good medium format SLR lenses in the 250mm to 300mm exist, but they’re too long and heavy for my setup. For example, I’ve heard good things about the SMC Pentax-A 645 300/4, but that lens weighs 1,360 grams and is not usable on my VX23D.

I nearly passed over the GX line because of the awkward lens housings, but then I stumbled across a picture by a person on Flickr (Nokton48) who removed the lens cells from the Fuji housings and remounted them in various scavenged shutters for use on his Plaubel Makiflex. Ah ha!

I started with the 250mm f/5.6, and now also have the 210mm f/5.6, and the 65mm f/5.6 – all rehoused and remounted for use on my Toyo VX23D plus Fuji GFX 50R outfit. I have excellent lenses in the 65mm range already, but I bought the GX 65/5.6 because I’m exploring tall vertical stitched panoramas that begin with the centre of the image circle and go up; I needed a large image circle for what I have in mind, and the GX 65/5.6 is the only lens I’ve found that has the image circle and works on my camera; large format lenses like the Fujinon SW 65mm f/5.6 do not work because their register distance does not allow the needed shift of 30mm or more on my setup.

A "proof of concept" test image. Inspired by Lois Conner's 7x17 banquet camera vertical compositions, I'm exploring tall images that start at a normal viewing perspective. This requires a very large image circle to allow 30mm of rise from zero.
View attachment 191464

Hello Rdeloe！ Thank U for the great job!
and I would like to know about the imaging quality of the 65mm lens at its optimal aperture near the edge of the image circle, such as F8 or F16. I plan to use it with my Swebo TC18 connected GFX100s to a GX 50mm for architectural photography. I haven’t been able to find a suitable wide-angle lens so far—I’ve tried the Rodenstock (Sinaron Digital) 55mm and 65mm lenses. However, their short flange distances result in too steep an angle of light at the corners. The 3.2mm cover glass on my GFX100S's CMOS sensor creates significant aberrations with such angles. Although adjusting the spacing between the lens groups can help, the improvement is very limited. After understanding these inherent limitations, I can only place my hopes in lenses designed for large-format SLR cameras, such as those for the RB67, Pentax 67, and GX680. Their optical designs typically have enough back focal length to accommodate a mirror, ensuring that the light enters the CMOS sensor at a less extreme angle.

The image circle of the GX 50mm lens is 112mm, exactly twice the 56mm diagonal of the GFX sensor. This means that, at the very least, this image circle would allow the GFX100S to capture stitched photos with up to 400 megapixels—which is really important for wide-angle architectural photography. Additionally, when converted, the 50mm focal length is close to a 19mm perspective in 135 format terms. While not the widest, it is sufficient for many situations. However, I have never used the GX680 camera and cannot find MTF data for its lenses. Therefore, I would like to ask about the corner imaging quality of this 65mm lens.
Thank you!

 

[rdeloe]

Hello Rdeloe！ Thank U for the great job!
and I would like to know about the imaging quality of the 65mm lens at its optimal aperture near the edge of the image circle, such as F8 or F16. I plan to use it with my Swebo TC18 connected GFX100s to a GX 50mm for architectural photography. I haven’t been able to find a suitable wide-angle lens so far—I’ve tried the Rodenstock (Sinaron Digital) 55mm and 65mm lenses. However, their short flange distances result in too steep an angle of light at the corners. The 3.2mm cover glass on my GFX100S's CMOS sensor creates significant aberrations with such angles. Although adjusting the spacing between the lens groups can help, the improvement is very limited. After understanding these inherent limitations, I can only place my hopes in lenses designed for large-format SLR cameras, such as those for the RB67, Pentax 67, and GX680. Their optical designs typically have enough back focal length to accommodate a mirror, ensuring that the light enters the CMOS sensor at a less extreme angle.

The image circle of the GX 50mm lens is 112mm, exactly twice the 56mm diagonal of the GFX sensor. This means that, at the very least, this image circle would allow the GFX100S to capture stitched photos with up to 400 megapixels—which is really important for wide-angle architectural photography. Additionally, when converted, the 50mm focal length is close to a 19mm perspective in 135 format terms. While not the widest, it is sufficient for many situations. However, I have never used the GX680 camera and cannot find MTF data for its lenses. Therefore, I would like to ask about the corner imaging quality of this 65mm lens.
Thank you!

There are much better options for your needs. The copy of the 65mm Fuji GX lens for the GX 680 camera that I adapted was decent but not outstanding on my setup. More importantly, it's hugely retrofocus. If you can figure out how to mount it, the enormous front element will drag down the front standard of your camera and cause involuntary tilt.

The Mamiya RZ 50mm ULD lens is also retrofocus, but it has a large image circle for 6x7 and is an excellent performer on GFX 100S. See the blog post by John Leathwick. The RZ lenses are also quite heavy, but they are easy to adapt non-destructively and very high quality.

Unfortunately, wide angle lenses with very big image circles that work on GFX and allow a lot of shift are the challenge. The very best 50mm I've found that works on my technical cameras with GFX bodies is the Mamiya G 50mm f/4 L. It has to be heavily hacked to remove the shutter blades and to replace the mount, and the image circle only allows ~ 15mm of shift. That's still more than the Canon 50mm t-s or the Laowa 55mm tilt shift -- but not enough for what you have in mind.

I found this in my collection. It's made with the Fuji GX 680 65mm using my old Toyo VX23D and a Fuji GFX 50R body. This is a stitched panorama with 20mm of left and right shift at f/11. The focus point is the building at centre that has the tiled roof. I lifted exposure a bit, but applied no other edits. Sharpness settings are LR default. Keep in mind that there undoubtedly were alignment issues given how I had to mount this lens on my VX23D. I guarantee you that parallelism was not perfect, but with a lens like this, it's never going to be perfect.
https://drive.google.com/file/d/1mTQMGILXgwQXTr87XlBwhy5r2qOjsryQ/view?usp=drive_link [I need the space, so I'll delete this file as soon as you let me know you have it.]

To use the 65mm on my TOyo, I had to mount it in the centre of the front standard to balance the weight, which meant I had to build a special bellows mount that attached to the lens. This worked, but it's simply not practical.