Film cameras
Large Format Instructions User manual
User manual for Large Format Instructions. 47 pages in English. Read the original PDF, download or print a copy without registration.
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- Large Format Instructions
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- English
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- 47
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- Film cameras
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Page 2 · Read text
TO THE VIEW GAMERA
This workbook is designed to guide you toward a basic understanding
of photography's most versatile tool - the view camera. Once you haveread, and understood the information, terms and principles presented in
this text, you will be prepared to enjoy the fruits of this most amazing
instrument. Please keep in mind that "enjoy" is the operative word,
because as soon as you are comfortable with the capabilities of the
view camera, its image control possibilities will delight you.
The view camera in and of itself is a very simple, mechanical tool.
What tends to scare or intimidate newcomers is actually the samc'thing
that attracts most serious professional and amateur photographers to it,
and that is its ability to "move." The view camera movements are
designed to help the photographer do what no other camera can
do - control shape, focus and placement of the image or subject.
Understanding the view camera also means understanding a new
"language" of terminologies, which may seem foreign at first. The key
to overcoming these new obstacles is patience. As with learning any
new technical operation; patience, practice and experience will
eventually make you a master of your craft and its tools.
Keep in mind that part of the joy associated with large format
photography is the calculating consciousness it imparts on your
photographic style. View camera operation is slow and methodical, and
requires a certain amount of patience every step of the way. However,
the rewards that are offered and the benefits you'll achieve are well
worth your efforts.
By studying each section of this workbook, you will become familiar
with the vocabulary of the view camera and large format lenses, learn
how to load film holders and see the cause and effect of each camera
movement. But don't stop there. Practice makes perfect, and practice
you must. The more you realize what this camera can do for you, the
more you can do with it. The view camera truly is the joy of
photography.
,
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MONORAIT Most studio view cameras are of the monorail style. The monorail is the main support of the other view camera components and also serves as a focusing track. The standard monorail length is between '16" and 20i'. This is sufficient for focusing most general purpose lenses (135mm to 2'l0mm) from infinity to at least a life-size (1:1) reproduction ratio. For larger reproduction ratios or longer focal length lenses, it may be necessary to use an extended-length monorail or join two monorails together. Shorter rails can be used for wide angle work where a long rail would either project into the image area covered by the lens, or would interfere with the photographer's ability to focus. FRONT AND REAR STANDARDS The primary function of the view camera's standards is to provide anchoring points for the lens, bellows and ground glass. But it is also the standards which provide the view camera with its image control movements. View camera standards are designed in two basic configurations: "U" ot "V' shaped. Most "U" shaped standards feature the tilt pivot point either around the lens or ground glass center or, as in the case of most flat bed (field) camera designs, at the base of the standard. Both require some refocusing after a tilt movement is performed, though the base tilt is more exaggerated and may require recentering the image as well. "lJ' shaped standards offer the advantage of true on-axis lens tilts and therefore require little if any refocusing or recentering. The front standard holds the lensboard and the lens, and controls the plane of focus, or depth of field by its ability to swing and tilt. The rear standard holds the ground glass back, which is where the film holder is inserted, and its swing and tilt movements control the shape of the image. BEtrows This flexible vinyl or leather housing connects the front and rear standards with light tight integrity. The bellows' "flexibility" allows you to move the front and rear standards closer together and further apart for focusing at a wide range of distances with a wide range of different focal length lenses and makes it possible to utilize the view camera movements. The standard bellows is pleated for strength and rigidity, extends to approximately 18" to 20" and is sufficient for use with most general purpose lenses. A wide angle, or "bag bellows" is most commonly used with shorter focal length lenses, which require less lens-to-film distance or "bellows draw." Since the front and rear standards are so much closer together in this situation, a compressed standard bellows would restrict camera movement. Therefore a wide angle bellows is made shorter and over-sized in its diameter to allow for more camera movement. ln close-up or macro situations, the distance between your front and rear standards may exceed the maximum length of a standard bellows. Some camera manufacturers offer an "extended-length bellows" to accommodate this 4 -View original page 4
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problem. Or it may become necessary to connect two bellows together with a
connecting frame and use a longer monorail.
GROUND GTASS BACK
The ground glass is where the image projected from the lens is formed for
focusing and composition. Most view cameras have grid lines etched or
screened on the ground glass to aid in vertical and horizontal alignment of the
subject. The image you see will be upside down and reversed from side to side.
There are basically two different types of ground glass backs: a spring back and
an international, or "graflock" back. The spring back cannot be removed from
its frame. Most folding, wooden field cameras have this style of back. The
international, or "graflock" back is designed to allow you to remove the ground
glass frame so that you can attach roll film holders and other accessories to your
view camera.
Several view cameras incorporate a "revolving back adapter" into the back
standard which allows you to switch from vertical to horizontal formats or make
horizon adjustments without removing the ground glass back assembly from the
camera. This reduces the possibility of dropping the ground glass and breaking it.
TRIPOD MOUNT
This attaches the view camera to the tripod or studio stand. Depending upon
your camera design, the tripod mount is generally adjustable as to its position
on the monorail. This compensates for the change in the center of gravity
location when focusing or using different focal length lenses. For general
purpose lenses, it is usually placed at midpoint on the monorail. The ability to
re-adjust the tripod mount's position can be helpful for focusing the camera
when the distance between the front and rear standards is predetermined by
reproduction ratio.
MOVEMENT CONTROT KNOBS
Each view camera movement has its own separate lock or set of locks, with the
possible exception of the lateral shift and swing movements, which share
locking mechanisms on some camera models. Depending upon the standard
design ("U" or "lJ' shaped) there are either double or single locking knobs for
most movements. "U" shaped standards have double locking knobs on rise and
fall, and tilt movements. ln this case, both knobs need to be released in order
to perform those particular movements. "l!' shaped standards have single
locking knobs which can be released or locked with one hand.
The actual movements of the camera are generally either friction or rack and
pinion. Friction movements operate manually in a push/pull manner. Rack and
pinion movements offer more precision control and are generally found on
more sophisticated camera designs.
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THE VIEW CAMERA SYSTEM
Aside from the image control capabilities of the view camera, another primary
asset is its "modular" flexibility. Most 4" x 5" view cameras are just one element
of an extensive line of useful accessories and components which can go so far
as to allow conversion up to 8" x 10". Some of the most important accessories
are listed below:
FRESNET
tENS
A thin piece of plastic with concentric rings etched onto one side. When placed
in contact with the ground glass, the fresnel lens produces an even distribution
of light across the image area. This not only brightens the image, making it
easier to focus and compose, but it also compensates for the inherent light
fall-off on the ground glass which normally makes it difficult to view the whole
composition from one vantage point.
FOCUSING
CTOTH
A large opaque cloth which is draped over the camera back and the
photographer's head to eliminate extraneous light from reflecting off of the
ground glass.
FOCUSING
LUPE
Used to critically focus the image on the ground glass. This lupe should be
specifically designed for view camera use rather than for slide viewing. lt has
an adjustable eyepiece so that it can be focused on the inside surface of the
ground glass. lt also has an opaque barrel which blocks extraneous light. View
camera lupes should be between 4X and 7X magnification.
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REFTEX
VIEWING
HOOD
By attaching this accessory to the ground glass back, the image can be viewed
right side up (though still reversed from side to side). lt incorporates a mirror
and a magnifying eyepiece to make focusing and composition easier, and also
eliminates the need for a focusing cloth.
IN tINE
VIEWING
HOOD
Similar to reflex hood, but without the mirror to invert the image. Used
primarily to eliminate the need for a focusing cloth.
FOTDING
FOCUSING
HOOD
This collapsible hood is convenient because it can be stored permanently on
the camera without getting in the way. lt blocks out enough extraneous light to
compose and focus, especially when used in conjunction with a fresnel lens.
COMPENDIUM
tENS
SHADE
Considered to be the only camera accessory to actually improve the optical
performance of your lens. This flexible bellows shade attaches to the front
standard and blocks off-axis light from your lens, which would normally cause
lens fl4re. This shade is pliable to allow you to twist or aim it in the most
effective direction, and yet it can be locked into any position. More sophisticated
versions of this hood come complete with gelatin filter slots and holders.
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ROLT
FItM
HOLDERS
By attaching a roll film holder to the "graflock" back of the camera it is possible
to take advantage of the view camera's image control functions with the more
economical roll films. Holders are available in 6 xTcm (2t/+"x23/t"),6x9cm
(2t/+" x 31/+") and 6 x 'l2cm ()t/n" x 5") formats.
POTAROID
FILM 13www.butkus.us
BACKS
ln order to test exposure, composition, focus and lighting, the Polaroid film
backs are essential to large format photography. These holders are inserted into
the camera in the same manner as a sheet film holder. There are three models
available for 4" x 5" cameras. Both the #550 and #405 holders accept film
packs which hold eight exposures. The #550 holder produces the largest image
(3.5" x 4.6") of all three backs, while the economical #405 holder produces the
smallest (2.9" x 3.81. The #545 takes individual sheets of Polaroid film, which
gives you the advantage of changing emulsions or switching from black and
white to color conveniently. The #545 holder produces a 3.5" x 4.5" image.
The #545 holder also offers the largest selection of film types, including a new
transparency film.
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,,UIEW CAMERA LENS
One of the first things you will notice about large format lenses is that they
include all of the controls you usually associate with the lens and the camera
body of a 35mm or medium format camera. The view camera lens includes a
shutter mechanism which has the shutter speed controls and cocking lever, the
diaphragm (or aperture) adjustment lever, the flash sync connection, the cable
release socket and a press focus lever. The diagram below illustrates the
location of each of these controls on a typical lens.
Shutter Speed
nptfure Dial
Shutter Cocking
Lever
Cable Release
Socket Flash Sync
Socket
Shutter
Release
lever
Press Focus
Lever
Large format lenses can be discussed from two aspects: their mechanical
properties and their optical characteristics. Let us begin with the former.
A view camera lens contains a shutter and the image forming components,
which are usually a series of glass elements. While lens design, focal length and
covering power are determined by the number, size and configuration of the
glass elements, the shutter has less variables and is common to all types of
lenses.
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[';
THE SHUTTER
There are currently three basic shutter sizes available for most modern view
camera lenses: #0 (small), #1 (medium) and #3 (large). Cenerally the focal
length dictates which shutter is used with which lens. Shorter focal length
lenses are usually supplied with #0 shufters, general purpose lenses, such as a
210mm lens, are in a #1 and long focal length lenses, most commonly used
with 8" x 10" cameras, are usually in #3 shutters. All three sizes feature leaf
shutters which have the advantage of being able to synchronize with electronic
flash at any shufter speed. However, the high end, or shortest shutter speed will
vary with each shutter size. All three shutters have a T (Time) and B (Bulb)
settings, with few exceptions
The press focus lever opens the lens for focusing and for depth of field preview.
When focusing it is recommended that you make sure that your aperture is
wide open for the brightest possible image.
NOTE: The shutter cannot be tripped when it is in this preview mode.
LENS DESIGN
There are literally hundreds of large format lenses from which to choose. Not
only are there a variety of lens manufacturers, but there is also a wide variety
of lens "types." By first understanding how to read lens specifications, you will
begin to learn which lens is best suited for your particular needs.
As an example, we will use the most common focal length lens for the 4" x 5"
camera: the 210mm lens.
Focal Type of Aperture Lens Multi- Filter lmage Angle of Format
Le,rgth Shutter Range Construction Coating Size Circle Coverage Size
210mm Copal 1 s.6-64 6-4 Yes 67mm 301mm 72" 5"x7"
FOCAL TENGTH
The focal length of a lens is equal to the lens+o-film plane distance when
the camera is focused at infinity. A 210mm, or 81/2" lens therefore requires
approximately 81/2" of camera extension to focus at infinity. lt is important to
nole-when buying a lens that your camera's bellows extension is long enough
td accommodate this requirement.
With most lenses a flat lensboard is used. However because short focal length,
or wide angle lenses require such a short distance between the front and rear
standards when focused at infinity (3t/2" or less), a recessed lensboard is
recommended or is, in some cases absolutely necessary for these lenses. The
recessed board places the lens closer to the ground glass, while allowing the
front standard to remain a greater distance away from it, thus making it possible
to focus at infinity and utilize more camera movements.
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TYPE OF SHUTTER
Knowing the shutter size will help you determine the diameter of the hole to
be drilled in your lensboard for mounting the lens. Remember, there are only
and #3.three shutter sizes used for all current lenses - #0, #1
APERTURE RANGE
The larger the maximum aperture, the brighter the image on the ground glass
will be for focusing and composition.
NOTE: ln cases where the same focal length lens is offered in different maximum
apertures, the faster lens will have a larger image circle, which provides greater camera
movements and a more even distribution of light across the film plane.
IENS CONSTRUCTION
The first number (6) designates the number of lens elements, and the second
number (4) refers to the number of groups they are cemented into. ln general
purpose and wide angle lenses, the higher these two numbers are, the better
corrected they are for distortions.
MUTTICOATINC
This reduces the possibility of lens flare, thus producing better image contrast
and color saturation.
FITTER SIZE
This tells you the diameter of the front lens housing for proper filter selection.
IMAGE CIRCTE
The diameter of the cone of usable (i.e. producing good definition) image area
projected by a lens. This is generally measured with the lens focused at infinity
and at a particular aperture (usually f22). Whte this is discussed in greater
detail later in this chapter, it is important to note that two lenses of the same
focal length may have different size image circles, the largest allowing you
greater movement and evenness of illumination.
ANCTE OF COVERAGE
Angle of coverage is the angle formed by lines connecting the image nodal
point (where light leaves the rear of the lens) to opposite sides of the image
circle. A 4" x 5" view camera lens should have at least a 70' angle of coverage
if fu\camera movements are to be used.
Angle of coverage is directly determined by lens design, not focal length.
Therefore it is entirely logical that different focal length lenses of the same
design would have the same angle of coverage. This angle will vary with
changes in aperture, and should be referenced to a given f-stop (usually f22 in
most manufacturer's specifications). The greater the angle of coverage, the
greater the amount of view camera movement.
FORMAT SIZE
Provides you with the recommended maximum film size covered by a lens.
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VIEW CAMERA OPTICS When it comes time to choose which lens is best for a specific application, there are several factors which need be considered. ln some respects, this decision is no different than selecting the proper lens for a 35mm or medium format camera. The effects are the same; only the numbers are different. However, cameras sizes since view come format in a variety of - including 21/q" lens" be 5" and the camera x 23/t', 8" x "10", 4' x term can "view misleading unless some basic principles are understood. PERSPECTIVE Before you decide which lens to use for a given scene or situation, you must first try to pre-visualize how you want that scene to look on film. And part of how it will look depends upon the perspective you wish to create. Perspective refers to the relative size relationships of the different elements within a scene, and is a factor of where you position the camera in relationship to those elements. All lenses have the same perspective, only the angle of view changes, which is what controls the image size within the frame. The illusion that a short focal length, or wide angle lens causes a foreshortened perspective is actually due to a closer camera-to-subject distance. Conversely, the illusion that a long focal length lens causes a compressed perspective is actually due to a greater camera distance from the subject. Once the position of the camera is determined - based upon the perspective yqu wish to achieve - you can then choose the lens focal length which willgiv\ you the proper image size. IMAGE SIZE Assuming that your perspective is pre-determined, it is your choice of focal length which will affect the relative image size of your subject within the image frame. lf you have chosen a perspective which gives you more background than you want and a smaller subject than you wbuld like with a 210mm lens, then a longer, or telephoto lens is in order. Remember, if you were to move the camera in closer to correct for this, your perspective would change. t2 -View original page 12
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ANGTE OF VIEW
Technically speaking, the angle of view is that angle formed by lines from the
image nodal point of the lens to two opposite corners of the film when the
camera is focused at infinity. lt should be noted that there are actually three
angles of view: horizontal, vertical and diagonal. The important point here is
that angle of view is determined by the lens focal length and a particular format
size. Understanding the relativity of this term when comparing focal lengths of
different format sizes can be confusing. The comparison chart illustrated below
is useful when visualizing the area to be included in a photograph with a
particular focal length lens:
35mm 6x6cm 6x7cm 4x5in. 8x10in.
Focal Angle of Focal Angle of Focal Angle of Focal Angle of Focal Angle of
Iength View* l-ength View* Length View* Length View* Iength View*
120mm 92"
20mm 84" 65mm 86' 135mm 950
15Omm 79"
24mm 74" 75mm 78" I65mm 740
90mm 6go .l 80mnr 69"
28mm 550 40mm 69" 50mm 6go l00mm 62" 21Omm 610
35mm 54' 5Omm 5g' 65mm 56" 12Omm 53' 240mm 550
75mm 49" l35mm 4go
44mm 44" 60mm 49" 80mm 46" l50mm 44" 300mm 45"
50mm 40' 75mm 40" 90mm 42" l65mm 400
55mm 360 B0mm 39" 105mm 36" 180mm 37" 360mm 38" 58mm 34" l00mm 3lo 12Omm 32" 21Omm 31' 450mm 31' l05mm 30" 127mm 30"
l2Omm 26" 140mm 27" 240mm 28"
85mm 240 l35mm 23" 150mm 26" 300mm 23' 480mm 29" 105mm lg" 15Omm 21" 180mm 22" 360mm 19"
l35mm 15' 45Omm 15"
180mm 12" 250mm 13" 360mm 11 480mm 14"
200mm 10"
You may be better at relating to image sizes produced by different focal length
lenses in the 35mm format. For example, a 28mm lens on a 35mm camera has
an angle of view of 65'. lf you look at the chart above, you will find that a
similar angle of view in the 4" x 5" format is produced by a 90mm lens (68").
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COVERING POWER
A lens projects a circular cone of light which can be discussed in two different
terms. The diameter of the circular area within which the lens is capable of
forming an image with acceptable definition is referred to as the image circle.
The angle formed by lines drawn from opposite sides of this image circle to the
lens is the angle of coverage. There are four factors which affect the size of the
image circle:
1. Focal Length: The diameter of the image circle is approximately equal to the
focal length of the lens. This holds true for most conventional lens designs, but
is not the case with wide angle, telephoto and other special purpose lenses.
2. Aperture: By stopping the lens down, the image circle will increase.
3. lens Design: This will affect the ratio of the image circle to the focal length.
4. Lens-to-Subject Distance: The image circle, usually specified with the
camera focused at infinity, will increase as the lens-to-subject distance
decreases.
The most important factor to consider when choosing a lens is that it has
sufficient covering power to include the entire format, or film dimensions, you
are using. A 4" x 5" sheet of film is 161mm (approximately 6112") across its
diagonal. Therefore, the image circle of a lens to be used on a 4" x 5" camera
must be at least 161mm or more for the image to completely cover the film.
ln order to take advantage of the view camera's primary asset- its ability to
adjust the lens and film planes to control plane of focus and image shape - theimage circle must be considerably larger than the minimum 161mm. An image
circle of 230mm will give you enough room to use the shifts, swings and tilts.
NOTE:Since the image circle is calculated with the lens at infinity, closer focusing
distances will mean even larger image circles. For example, a l35mm lens with a normal
image circle of 200mm will easily cover the 323mm diagonal of the B" x 10" format when
the subject is reproduced at life size. A general rule to follow states that if you double the
bellows extension required for a lens to focus at infinity, you will double the size of the
image circle.
lmage Circle Required to
Cover4xSFilm
Larger lmage Circle
Provides Room For Camera Movements
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h SPECIAL PURPOSE TENSES
Aside from the traditional wide angle, normal and long focal length lenses that
are available for view cameras, there are several types of special purpose lenses
from which to choose which further enhance your image control capabilities.
SOFT FOCUS TENSES
These lenses are designed to create controllable and predictable soft focus
images. Crid disks, along with intentional spherical aberration of the lens
elements create the equivalent of two images on one film plane. This results in
a blending of highlight and shadow which smooths out skin tones, creating a
luminous appearance. The intensity of the softening effect for individual images
can be varied. These lenses are most commonly used for portraiture, but also
can be applied to other situations, such as product photography.
FLAT FIETD TENSES
Also called copy or process lenses, these are designed to produce outstanding
corner to corner resolution, texture rendition and light transmission. These
lenses produce optimum results at life-size reproduction ratios (1:1)and are
excellent choices for close-up or high magnification work. Apochromatic
correction is sometimes employed by these lenses to produce exacting copy
work and color separation negatives.
TETEPHOTO TENSES
These uniquely designed long focal length lenses will focus at infinity with
significantly less bellows extension than their standard lens design counterparts.
This makes them ideal for use on cameras with restricted bellows extensions,
such as field cameras.
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,OADING FILM HOLDERS
./
The sheetfilm used in a view camera is first loaded into film holders-two
sheets per holder. The loading process takes place in a completely light-tight
environment, such as a darkroom or changing bag. The film holder is then
inserted into the camera, the darkslide is removed and the exposure is made.
This is a slory methodical procedure, but the results are well worth the effort.
lf you follow these step-by-step instructions and practice them a few times with
a scrap sheet of film with the lights on, this seemingly complex procedure will
become second nature to you.
First, a brief description of your primary tool, the dual sheet film holder.
Available in all popular sheet film format sizes, these holders consist of a body
and two removable darkslides, which when inserted into each side of the
holder provide light tight protection for the two sheets of film.
The body of the holder has two sets of "channels" or guides on each side. The
upper channels on the inside walls of the holder are guides for the dark slides.
The lower channels on the base plate of the holder are retaining guides for the
film. Two hinged flaps are located at the film loading end of the holder. These
arb to be opened when inserting the film and closed before inserting the dark
slides.
Each dark slide has a handle with two distinctly different sides: one side is
black, while the other side is white with several raised bumps on it. The black
side is designed to designate exposed film or empty holder. After the exposure
is made in the camera, the dark slide should be re-inserted into the holder with
this black side facing out. The white side designates unexposed film is in the
holder. Dark slides should always be inserted with the proper side out when
you are working with them so you have a safe reference point.
cleanliness! This sums up the single most important thing NOTE: One word of caution - to remember when loading film. Any dust particles or fingerprints that get on your film
will cause spots or markings on your negatives or transparencies. A few extra moments
spent cleaning your holders before you load them will save you a multitude of problems
in the long run.
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STEP-BY-STEP LOADI NG PROCEDURE
/steps I thru.l carr bt'done v'ith the room lights on.t
l. Renrove the clark sliiles .tnd open
the flaps at the lrottonr ol the holder.
Tap the edge ot tl-re holcJer w,ith a
static renror ing [rrLrsh .rrrd use the
brush to w,ipe thc' intt'rior of the
Itolcler .rncl the ciark :lides c learr.
(.ontpresserl or t .t n rtecl a ir .r lso rvorks
verv' efiec ti'. r'li.
l. lnsert tlre clark slicles.tltottl .'ttr int l't
irrto their c'hartnels on ltotlt riclt's ol
the holde'r rvith the rr ltrlt' sirlt' l,rt ing
rrttt. '\g.tirt, tlrir i' t t'rr itttlrorl.tttl lr r
inclii'ate th.rt the lilrtt rn iht'htilclt'r i*
Uttc'rpo.st'r /.
:i/l t
l. Stac'k tlte t le.rn holclers tte.rr llte
r lorerl lror ol tilnt.
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(Steps 4 thru 9 rrru.st be perfornrecl in total darknessl)
4. C)pen the box of filnr and renrove
a single sheet of filnr fronr the inrrer
foil pac kage.
**,wl$1t; (N
5. Lor,rte the' rrolr hr,(/ r rlrnt'r orr the
filnr and 1;l.tce it in the ugtper right
hand corner r,r,hile holding it in your
right hand. This inclic.ttes that tl're
enrulsion side of the filnr is facing yoLr.
,idt1, {Q
>i
fi. Pick up the filnr holder irr your left
hand rvith the ltrotruding cl.rrk slides
pointed dorvn. Using your left thunrb,
open the flap and gently slip the filnr
into the filnr retaining channels of the
holder.
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7. With your right index finger, gently
push the film until it is completely in
place. As a safety precaution, it is a
good idea to check proper seating of
the film by slipping a fingernail under
the top edge of the film. lf it is in both
of the channels you will feel a slight
tension.
8. Close the flap and push the dark
slide all the way into the groove of
the flap. You may wish to check to
make sure that the flap is locked into
position by the dark slide.
9. Swing the dark slide lock on the
holder over the top of the handle to
insure against accidental removal of
the dark slide.
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Repeat this procedure for the other side of the holder.
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::::::: :::::"
mold the final image in ways that no other camera can. The image control
movements are called swings and tilts, shifts, rises and falls. With these
movements you can achieve creative freedom by controlling vertical or
horizontal distortion, plane of focus, perspective and composition.
These primary movements can be used individually or in conjunction with one
another to give you the ultimate in image control.
NOTE: Before you get started, you should first set each movement at is neutral reference
point. This is called the zero psition. Zero position is generally designated by a
benchmark or by clickstop detents on your camera. All movemens should be centered in
this neutral position as illustrated below:
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I IENS STANDARD MOVEMENTS
CONTR,OLLING PLANE OF FOCUS
The lens' standard swing and tilt movements are used to control the subject's
plane of focus. A lens can only focus with maximum sharpness on a two
dimensional object plane, that plane being parallel to the lens plane and
perpendicular to its axis. However, many times your subject doesn't cooperate
with this limitation, and adjustments must be made. A simple stopping down of
the lens to increase the depth of field may not do the job, especially in close-up
situations. The front swing and tilt movements on a view camera allow you to
alter the plane of sharp focus so that it coincides with the plane. of interest of
your subject, and thus keeping it in focus.
CONTROLLING IMAGE POSITION AND RELATIONSHIP
The front rise, fall, and lateral shift alter the position of the image with respect
to the film. Through these movements, the subject can be repositioned up or
down and left or right on the ground glass or film plane. These movements can
come in handy for minor changes in composition, especially with image shifts
resulting from a swing or tilt movement.
These movements will also affect the relative position relationships between
objects close to the camera and those further away. This change in perspective
occurs because lateral and vertical front movements are effectively changing
the position of the "eye of the camera:" the lens. As it moves, or shifts to one
side of the object, more of that side will be seen or revealed, and it will change
that object's relative position to the background.
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t BACK STANDARD MOVEMENTS
,t CONTROLTING IMACE SHAPE
The back standard swing and tilt movements are used to control the shape of
the image. By pivoting the film plane, the shape of the subject will become
elongated either horizontally (by swinging) or vertically (by tilting). Such
reshaping of the subject can convert a cirqular object into an eliptical object
and square object into a trapezoidal object.
ln most instances you will want to keep the back standard parallel to the subject
so that they do not become distorted from their normal shape. This is most
evident in architectural photography, where great care must be taken to keep
the camera back parallel to the lines of buildings so they do not appear to
converge. However, since most buildings are higher than your camera position,
the camera must be pointed in an upward direction. ln order to keep the back
standard parallel to the lines of the building, its top edge must be tilted forward,
or towards the lens. (See page 42 for detailed example.)
Since most "table top" photography requires the camera to be pointed
downward, image shape control comes into play quite often. The grid lines
on the ground glass can be very helpful in determining when a correction is
necessary and when sufficient movement has been applied, especially with
subjects containing parallel lines. lrregularly shaped objects may be more
difficult to correct, but are done so with the same movements.
NOTE: Rear swing and tilt movements will usually affect the sharpness of the image and
may require altering the lens standard or stopping the lens down to correct for this.
CONTROTTING IMAGE PLACEMENT
The rear rise, fall and shift movements control the position of the image on the
ground glass. However, unlike the same movements on the front standard, they
DO NOT change the camera's perspective in relation to the subject. ln this case
it is the film that is moved, and not the image itself. Therefore, it is with these
movements that most compositional and framing corrections are made.
While the rise and fall move the image up and down on the ground glass, the
lateral shifts move the image side to side. These movements can be time and
labor saving alternatives to lifting and moving the camera and tripod.
F
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