We don't really have the wide open landscapes in the UK for lenses like the 300mm M Nikon, I don't in Turkey either (where I shoot). Maybe it's my way of working I found a 135mm to long for 35mm and later used mostly the 70-90mm end of my 70-210 zoom.
A down side to the 300mm Nikon is they require full extension on most 5x4 cameras which can be problematic if there's any wind or breeze about, in many ways a 270mm Tele lens would be much more practical but a bit heavier.
I'd keep things simple until you've gotten past the learning curve. Pick a single lens. Just make sure it has an ample image circle for its focal
length. But it is indeed funny how different people gravitate toward different angles of perspective. Last year I was backpacking for a couple weeks with a pal who only owns and uses wide-angle lenses, while every single lens I was carrying was conspicuously longer than "normal" - yet we were shooting the same nominal subject matter. My own predilection for narrow perspective seems to be the case with every single format
I use, whether 35mm, MF, 4x5, or 8x10. I do own some wide-angle lenses, but only use them a small percent of the time, generally for architectural subjects.
I find that odd for as a professional shooter who uses 35mm, 120 and 4x5 to earn good money off of landscapes, the mindset around the subject, light, timing and emotional connection to that subject is far more the "serious work" over what format I may choose to use. Don't get me wrong, I am not saying LF can not lead to serious imagery, but to be 100% honest, I find a lot of the work I see in LF to be very boring in terms of being a great photograph or not.
Now if your focus is coming up with a bigger technically well put together negative regardless of it is a good photo or not, then yes, 4x5 and larger will allow you to do that. But if the end result is a photograph with the most impact, you probably ought to lose the gear mindset and work on more important aspects of photography.
I still find I do my best work overall with 120, it is the best combination of fast setup and reaction time, dust prevention and large enough negative to make very nice silver gel prints from....
I've been buying lenses (almost all used) since I started in 4x5 more than 20 years ago.
My full kit for the monorail ranges from 72 mm to 600 mm (both extremes require changing bellows and/or rail length).
These are carried about on a cart in a collection of cheap Office Depot "catalog cases" which are a perfect fit for the boards with lens wraps around the mounted lenses (lenses mounted on 6" square Cambo boards).
My minimal backpackable kit (lightest weight using a carbon-body Toyo field camera) is a Fujinon 150 mm and a Caltar 210 mm, which work for almost everything except high-rise architecture. The Toyo can be folded up with small lenses such as the Fujinon still mounted.