Hi,
Your lens set all have a distinctive modern multi-coated signature with modest coverage for 5x7inch. Perhaps this is intentional, or perhaps like me when I set out, I did not know any better until I forayed into the vintage whole plate [8 1/2 x 6 1/2 inch] format and discovered a repository of antique lenses lost to the modern photographer who doesn't buy lenses in inches.
if you enjoy shooting on your fast f4.5 Nikkor which has a similar limited coverage for 5x7 as your Fujinon 135/5.6, perhaps it makes sense for you to consider a brighter focussing 5x7" barrel lens like the Dallmeyer/Ross/Air Ministry 6 1/2inch to 8 inch F2.9 Pentac which illuminates the ground glass brightly. Coverage will be a push at the lower focal lengths end wide open however the low contrast of these lenses is superb for portraiture work; studio lighting and lith printing processes which bump up contrast as well as alternative processes.
They are very front heavy however your Sinar is the right camera to overcome these challenges and since you have an autoshutter, your work is mostly just to strut the camera with a lens support and adapt a 77mm filter front hood to recess the flare potential from indoor lights. On the opposite end, I don't know how you would succeed in fitting a spacer between your auto-shutter, and a wide-angle barrel lens like a Goertz Hypergon without jamming the shutter or wrecking the lens. At the ultra-wide angle lens, I find the Sinar system more painful to use once the focal lengths drop to 47mm on 5x4 inch. The shuttered lenses like the Schneider Super Angulon 90/5.6 XL is phenomenal in covering 5x7inch at such an extreme - even more because it also covers whole plate format.
The Kodak Aero-Ektar at 178mm f2.5, is nominally brighter than the Pentac (not by very much logarithmically at all) however commands a premium, usually triple that of the Pentacs.
If you are following the lens design to decide your lens, then most every Tessar will give you the inverse focal length requirement (i.e. you will need at least a 250mm or so Tessar). If you go for a double Gauss or Plasmat design, you have more flexibility for image coverage and far less interest than say, early triplets; menisci lenses or early petzvals (which are terrible for wide angle coverage anyhow!). The advantage in a studio; the large format Tessars (especially the Zeiss T* multi-coated ones) don't flare against strobes and bright lights. Compound lenses - especially wide-angles - are notorious for picking up stray light flare due to their massive angle of coverage.
On the other hand, if you are after a barrel lens with distinction and way more pretzel contorting lens covering power as a wide-angle, there are very few bright/fast aperture versions of these lenses. I'm guessing you have at least a 3 metre throw in your studio, which would mean that anything shorter than 210mm, like a Rodenstock Apo-Sironar-S 180/5,6, which is incredible for covering whole plate format [8 1/2 inch x 6 1/2 inch with movements] - comfortably covers 5x7 inch format.
5x7 inch format equates to the modern half-plate [4 3/4 inch x 6 1/2 inch] - so if you hunt for older half-plate barrel lenses (most of which were indeed ... barrel lenses) - you will find you can acquire a raft of these cheaper quality lenses than a grail lens like the Apo-Sironar S. The Apo-Germinars by Herr Docter, before his death, have exceptionally wide coverage and these incredible single coated lenses were also patented by Zeiss. Mr Cad in London was the major outlet for disposing of these lenses after Herr Docter passed away and this is how many of us in the UK came to own a set of these incredible huge coverage lenses from 65mm right up to 450mm.
