Film cameras
V-PAN 617 / Mark II Panoramic User manual
User manual for V-PAN 617 / Mark II Panoramic. 13 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- V-Pan
- Model / document
- V-PAN 617 / Mark II Panoramic
- Document type
- User manual
- Language
- English
- Pages
- 13
- File size
- 0.9 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 5 · Read text
ings slide freely into the channels on the top and sideGetting to Know of the rail as shown in Fig. 1.
TIP: Auoid turning tbe locking scre?as out too far,Youl. New Camera
as tbis may cause tbe nylon busbings to pop offThe V-Pan camera is simple to use, especially if you If tbis bappens, first turn tbe screu) back in, tbenare already fnmiliar with view camera operation. To align tbe busbing and press it firmly onto tbe tipget the most from yollr new panoramic tool, please of the screu witb afingertip until it snaps into place.take the time to review these sLlggestions for proper
care and use. Slide the tripod block to the center of the rail and se-
cLrre it in place with the locking screws. Before pro-First, take a look at the carnera's components: ceeding to the next step, mount the rail onto a str-rrdy
. The sturdy monorailis a precision extrusion of air- tripod. This will free both of your hands and hold the
craft-grade ah-rminLlm that serves as a mounting plat- camera safely in place while yoLl work with it
forrn for the camera's other components. Pick up the front standard and slide the sqlrare open- . The front standardis designed to hold view camera ing in the rearof the front standard mounting block
lenses moLrnted in Linhof Technika-type lens boards. over the front of the ranl, following the same procedLlre
. The rezr standard includes a grollnd glass for com- as with the tripod block. The large front standard lock-
posing and focr-rsing the image. ing knob should be on the right side of the camera.
. The flexibl e bellorl/s connects the front and rear stan-
dards, allowing them to be moved independently along
the rail.
. The tripod mounting blockpermits the camera to be
secured to a tripod.
. The film magazine inserts into the rear standard to
make four 6x17 cm. images on f20 roll film.
Disassembly and Setiup
The V-Pan camera is easy to disassemble and set-up.
For field use yoLr may parttally disassemble the cam-
era for transport by removing the standards from the
rail and folding them flalIn this configuration the cam-
era will fit in a briefcase or camerabag. Vith some prac-
tice you should be able to set it up on location in les-s
than a minlrte. In the following discr-rssion we assume
that the camera has been disassembled for transport. Fig 1- To mr,tunt compr-tnents on tbe monorail, make sure
The steps can be reversed for disassembly. As you grow the nylon busbings are alignecl in tbe grooues.
familiar with yoLrr V-Pan you will probably develop
your own procedures. However yoLl do it, take care Once the nylon bushings are aligned, slide the frontnot to drop or damage any of the components , pat- standard back several inches toward the center ofticularly the ground glass. the rlil and finger tighten the locking screw to hold the
TIP: Aluays make sure tbe ground glass protectiue standard in place on the rail.
couer is in place wben tbe camera is not in arce, Next slide the front of the rear standard mounting block particularly uben disassembling or setting up tbe over the back end of the mono rall, again making sure V-Pan and during transport or storage. that the nylon bushings on the rear locking screws are
To set up the camera, first pick r-rp the monorail and properly aligned in the grooves. Turn the focusing
identify the back end (it's the one with the brass fo- knob in a clockwise direction while pushing the rear
cusing rack). The camera must be assembled with the standard gently forward to engage the rack with the
rack on the top side. Remove the monorall end caps pinion gear housed inside the rear mounting block. As
by unscrewing the thumbscrews and set them aside. the gear engages, the standard will move smoothly
Pick up the tripod block ancl orient it so that its large onto the rail Rack it forw ard several inches and lock
locking knob will be on the left side of the camera. the standard into place by finger tightening the rear
Slide the front end of the rail partway into the square locking screw with the knob on the left side of the
channel in the rear of the tripod block. Looking into mounting block. Replace the monorail end caps and
the channel from the open (front) end, adjust the lock- tighten them into place with the thumbscrews.
ing knobs if necessary until the nylon pressure bush- The rear standard also may be unlocked from its
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mounting block for removal or fore -and-aft adjr-rstment
in its dovetail groove. To release it, move the slide
release lever to the right. This feature allows the rear
standard to be advanced over the tripod mor-rnting
block when working with extremely short focal length
lenses, and provides extra extension with long lenses
at the limits of the rnonoratl.
TIP: Because of its leuer-actionpositiue lockingfea-
ture, some V-Pan users find it conuenient to use
tbe sliding douetail connection for fine focusing
tbe camera.
lnstalling the Bellows
As a fr-rlly modular carn era, the V-Pan has a removable
bellows that can be interchanged. (Options include a
bng bellows for Lrse with lenses with focal lengths of Fig 2 Tbe bellouts mounting plate mtrst be insertecl behind- theflange at tbe bctttorn of tbe rear stcntdard. Sicle150mm or less. Also avarlable is an extended pleated retainer barc ancl a retainer clip ettmplete tbe installcttir-tn.bellows for use with long lenses having flange focal
distances Lrp to 26 inches.) Installing the bellows is eas- top must be loosened (nig . ,. Engage the front bel-
iest if the camera is assembled as described in the pre- lows moLlnting plate into the retainer atthe bottom of
vious section and moLlnted on a tripod. the front bellows recess and fully seat the bellows
The bellows is mounted to the front and rear standards moLrnting plate. Finally, move the sliding bar down
by means of fixed retainers at the bottom and sliding over the top edge of the bellows moLlnting plate , agarn
spring loaded bars. The bars eng ge the aluminLrm making sure none of the pleats are car-rght r-rnder the
mounting plates attached to each end of the bellows. retainer or bar.
In addition, the rear standard features a top retaining To remove the bellows, reverse the procedures out-
clip. lined above. \fith practice, one bellows can be re-
Let's staft by attaching the bellows to the rear standard. moved and another installed in just a minllte or two
First, slide the spring loaded bellows retaining bars to You can leave the bellows installed when breaking
the outward position (nig . 2). Next, loosen the down or setting up the V-Pan. In this case yoLl must
thr-rmb screw on the top bellows retaining clip until the keep the front and rear standards together, and remove
clip can be rotated 90 degrees to one side. and install the standards and tripod block in sequence
TIP: If necessaU, you can adjust tbe tension on tbe from the front of the ratl Use extra care to avoid dam-
spring loaded bellouts retaining bars by tigbtening to the bellows. ^ge or loosening tbe round beaded screus u/itb an allen
wrencb.
Hold the bellows horizontally and slip the bottom edge
of the moLrnting plate downwardfrom the top behind
the fixed retaine r at the bottom of the bellows recess
on the front of the rear standard.
TIP: To protect your bellotus from damage, make
certain none of tbe pleats of tbe bellous material
become caugbt under tbe retainer, tbe sliding bars,
or tbe top retaining clip.
Seat the bellows plate completely in the bellows re-
cess, then move the sliding bars inward as far as they
will go to secLlre the edges of the bellows plate.
Finally, rotate the top retaining clip so that its lip en-
gages the top of the bellows mounting plate, check-
ing again to assure the bellows material is not caught
under the clip. Slide the clip all the way to the rear and
finger tighten the thumb screw.
Follow a similar procedure to attach the bellows to the Fig 3 Tbe bellows is attacbed to the front standard b! a - at tbe bottom and a sliding top retainer bar.front standard. In this case only one sliding bar at the fixecl retainer
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The Film Magazine
The V-Pan film magazine consists of two main com-
ponents, a housing anda removable back plate. Both
are made of precision machined aluminum castings,
The back plate is a quick-release design that re-
moves completely for convenient loading.To remove
it, nnsnap the latch at the left end of the magazine,
swing the back away and to the right until it is clear of
the magazine housing, then slide it down off of the
hinge stud.
The main hor-rsing contains a film supply cornpartment I
on the left and a take-r-rp compartment on the right be-
neath the large film advance knob (ett references
assume that yor-r are viewing the magazine from the
rear.) Film rollers move the film smoothly through the
magazine,
A stainless steel dark slide fits into a slot on the right Fig. 5- A roll of l2ofilm is installed in tbe companment
side of the maga zrne. The dark slide slot features a on tbe left. Tlte film unwinds from tbe top and to tbe rigbt.
spring-loaded light trap, make sure the dark slide is installed and fully seated.
The removable back cover contains a spring-loaded . Lift the spring-loaded film advance knob and insrallpressure plate to assure film flatness. The film viewing an empty 120 spool in the film take-up compartmenrport, consisting of openings through the back cover at the right side of the magazine (Fig.4).Engage rheand pressure plate, allows precision film advance sim- bottom end of the spool over the stationary stud in theply by aligning the appropriate numbers on the paper bonom of the compartment. Tilt the spool into the com-film backing in the viewing port. A tiny flexible bel- partment and release the film advance knob to locklows between the film port in the back cover and the the spool into place, engaging the prongs on the topport in the pressure plate keeps stray light from en- winding shaft wirh the slots in the spool.tering the magazine,
TIP: Turn tbe film aduance knob genrly u.,bile
e maint aining ligb t finger pressure on tbLoading the Magazine to assure tbat tbe spool is properly seatedfilm spooandI
Loading the V-Pan film magazine is simple and straight- aligned.
forward. Follow these steps: . Install a roll of I20 fihn in the film supply comparr-
(Fig. 5). The roll must be oriented so that film will. Remove the back cover and set it aside. Check to ment
unwind from the top and toward the right. Push up on
the spring-loaded film retaining button from inside the
compaftment, then hold the button in the retracted po-
sition from the outside. Seat the bottom end of the film
spool over the fixed stud in the bottom of the com-
partment, tip the roll into the compartment, and allow
the spring loaded film retaining button to snap into the
spool. To make sure it is well seated at both ends give
the roll of film a few turns with your finger.
. Break the seal on the film and gently unroll the pa-
per backing across the back of the magazine until
the end tab reaches the take-up spool. Make sure the
paper rides smoothly over the film rollers at each
end of the magazine.Insert the end of the tab in the
slot on the take-up spool. Maintaining light finger pres-
sure on the film as it winds onto the spool, slowly turn
the film advance knob just enougb to place tension on
the paper and to take up any slack. Note that since film
advance is manual, there is no need to align starting
arrows on the film back. A special one-way clutch
compartment under tbe laryefilm winding knob. makes it impossible to turn the film advance knob
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Working with the V-Pan
As a monorail view camera, the V-pan system allows
a great deal of flexibility in composing pano ramas.
These techniques of image-making will be familiar
to view camera users. If you lack experience working
with view cameras, don't despair! Following is a re-
view of the basic knowledge you need to create a wide
range of images with the V-pan camera.
Using View Garnera Lenses
fI An important key to the versatility of the V-pan cam-
era is its ability to use view camera lenses, which are
II avallable in many focal lengths. These lenses include
some of the finest photographic oprics made. They
contain built-in shutters and are fitted in lens boards,
flat plates that mount onto the front standard of the
fiq. .6 Make certain film is aligned straigbt across tbe camera. The V-Pan will accepr all Linhof Technika-rype back of- tbe film magazine wilbout any kinks, and tbat it lens boards.
is centered on tbe take-up spool.
Note that while virtually any viern'camera lens can
backward. Make sure the paper is aligned straight be mounted on the V-Pan, not all lenses have image
across the magazine without any kinks, and that the circles or circles of even illumination sufficient to give
paper is centeredonthe take-up spool (Fig. 6). full coverage in the 6x77 format. To do so a lens
must have a minimum image circle with even illumi- o Re-attach the removable back cover. First, slip the nation equal to the diagonal of the film frame, or 181 hinge onto the hinge stud on the right end of the mag- mm. (Of course, such minimum coverage would not azine. Carefully swing the back cover onto the film allow for camera movements,) magazine and make sure it is seated all around. This
brings the pressure plate into contact with the paper TIPz \Vitb most lenses the circle of euen illumina-
film backing. Finally, engage rhe latch and snap it shut. tion is tbe same as tbe image circle, but some lens-
es may require centerfilters topreuent ligbtfall-off TE: Tbe back couer sbould close smootbly. Do not at tbe corneTs of tbe image. Tbis isparticularly true attempt toforce it into place. If you encounter re- witb tbe sbonerfocal lengtb Scbneider Super-An- sistAnce, remoue tbe back couer and determine gulon and Rodenstock Grandagon lenses, and to uhat is causing tbe problem. some degree witb tbe wider Nikkor-SW designs. . To advance the film to the first frame, observe the In practice, any lens rated to cover the 5x7 in. format markings on the paper backing through the film view- will easily accommodate the 6x17 format, and most ing port. To make the first of four exposures in the 6xl7 lenses that wiil cover the 4x5 in. format will also do so, cm, format, advance the film untilthe figure 2appears The exceptions include the 65mm ultra-wide-angle in the port. You also can advance the film while rhe lenses available from major lens makers. rVith their magazine is mounted on the camera by looking 170mm image circles, these lenses will just cover the through the window in the ground glass. To expose 4x5 format, but will vignerte at the corners in 6x17. frame number two, advance to the figure 6 on the film Long lenses can be used if they have adequate image backing; for frame number three, advance to figure 10; circles anda flange focal distance less than your longest and for frame number four advance to figure 14. As a V-Pan monorail and bellows combination (up to 26 in. reminder, this seque nc e-2-6-l 0 - L 4-appea rs on with optional long rail and bellows). the nameplate above the ground glass of your V-Pan
camera. TIP: In general tue recommend using telepboto-
type lensesforfocal lengths longer tban 210 mm. That's it-your film magazine is ready ro go. With a lir Tbese retrofocus designs Are more compact and tle practice you should be able to load the V-Pan mag- baue Jlange focal distances about one-third sborl- azine about as quickly as any other roll film camera. er tban tbeir nominalfocal lengtb ratings. TLtis
TIP: To remouefilm spools, first retract tbe top translates into less bellows drau and greater cam-
spring-loaded retaining button or uinding sbaft, era stability, particularly in utindy conditions. Tele-
tban press at a dowrulard angle on tbe lip at tbe photo designs baue smaller image circles, boweu-
bottom of tbe spools. Tltny sbould easily tipfortuard er, so if maximum camera mouements are required
out of tbe cbamber. you mayPrefer long lenses of conuentional design.
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Next, adjust the standards to bring the image into fo-Mounting Lenses on
the V-Pan Gamera cusadjr-rstonthethecomposition.ground glassDon'tso thatpanicyouat thecanfactstudythatandthe
To mount a lens, loosen the two thumb screws on the image is upside down. This is afactof life with allview
sliding lens retaining bar on the front standard until carrreras and you will soon grow accustomed to it.
the bar can be freely moved. Seat the bottom of the (Many experienced view camera shooters believe that
lens board (the edge with bevels on each corner) into the inverted image actually makes it easier to pre-vi-
the fixed retainer at the bottom of the lens board re- sualize their final composition.)
cess. Slide the lens retaining bar up, tip the lens board TIP: A 4X or 6X magnffier is a useful aid to ac-
into the recess until it is fully seated, then slide the curatefocusing. Cboose one tbat has a soft base
retaining bar down to engalle the top edge of the board. tbat uill not scratcb yourground glass. A neck strap
Finger tighten the thurnb screws to secure the lens is anotber goodfeature to lookfor.
board in place.
lenses TIPz Vieu to be catnerA are meant used utitb Make Your Gomposition release. releases ctre a good a cable alternatiue. Air
A relatiuely long release (18-2O in.) will let you Now you can use the many versatile featnres of the V-
make tbe exposurefrom bebind tbe camerr Pan camera to refine your composition. For example,
tubile utatcbing tbe subject. It's a good idea to keep at this point yolr may conclude that a different lens is
a spare release in your camert case. appropriate for a tighter or wider composition. If so,
install the new lens and refocus.
Once the desired focal length has been determined,
you can use the movements on the front standard to
control subject framing, perspective, and plane of fo-
cus. In this discussion we will consider only rise and
fall, the camera movements most commonly r-rsed inMaking a Photograph the field. (For a brief discussion of other movements,
Now that your camera is assembled, the film magazine see the next section, Aduanced V-Pan Camera Tecb-
loaded, and a lens chosen and mounted on the cam- niques.)
s12-i1'5 time to make a panoramic photograph. Here Camera rise and fall are achieved by moving the lens
are some sLlggested procedures. board frame up or down in the front standard. The
V-Pan allows up to 2 inches of rise and 1 inch of fall.
Leuel the Gamera The lens board frame has click-stop zero detents for
rise, fall, and tilt, making it easy to return to the neu-As soon as you have mounted your V-Pan on a tri- tral settings.pod and aimed it at the subject, rnake it a habit to
levelthe camera before making any otheradjustments. Let's say that you are makingapanoramic photograph
There may be occasions when you will want to tilt the of a skyline with tall buildings. \fith the camera com-
camera up or down, but for most situations it will pletely level there will be no keystoning (the buildings
pay to compose and shoot with a levelcamera. To sim- won't look like they are falling over), but with the lens
plify this important step the V-Pan is equipped with a in a neutral position the horizon will be in the mid-
pair of levels, one for the lateral axis and the other to dle of the image. If you want to emphasize more sky
measLlre front-to-back tilt. (or foreground) in the composition, use front rise (or
fall) to shift the image. Loosen the two release knobs
on either side of the front standard until the lens boardFocus the lmage frame can be moved. Grasp the frame at the top and
Now it's time to compose and focus tl-re image on the move it up or down while viewing the composition on
gror-rnd glass. Open the lens by moving the lever on the ground glass. Since the camera has remained lev-
the side of the shlrtter barrel. Open the diaphram to its el, the buildings will remain straight. Vhen you have
widest setting for a bright image on the ground glass. attained the desired composition, tighten the knobs to
TIP: For best results, it is aduisable to use a dark lock the lens board frame in place.
clotb of some kind to block extraneous ligbtfrom TIP: If you are not using lens tilts, to assure you
tbefocusing screen. Tltis is especially belpful wben bauen't inaduertently tilted tbe lensframe place
side-ligbting conditions uould otbenpise allow ligbt ligbt pressure on tbeframe prior to tigbtening to
to enter tbe side of tbe rear standard tbrougb tbe see tbat tbe tilt detent stops are engaged.
film magazine receiuer and create glare on tbe If you are using a polarizer or other special effect fil- ground glass. Euen a lightu;eigbt.lacket can seTae ter, screw it onto the lens and adjust it for the desired as an effectiue dark clotb. effect. Some filters will cause focus to shift, so check
I
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IView original page 9Page 10 · Read text
your focus one last time. Now it's time to make your rigid to give you optimum results with the V-Pan. This
panoramic photograph. is particularly true when working rvith long lenses or
exposure times.
As a rule-of-thumb; choose a tripod rated at least for Make the Exposure 4x5 cameras. When weight is a factoq such as for back-
Before inserting the film magazine, be sure to close tbe packing, some compromise will be required-but in
lens to preuent ligbt fromfogging yourfilm. allcases it's a good idea to use the heaviest tripod yor-r
Determine your exposure and set the appropriate shr-rt- can.
ter speed and f-stop on the lens. Cock the shutter. TIP: If you must use a ligbter'pod, it can be
Pull the film magazine release lever up and to the left made more stable by adding weigbt to it. You
until it engages the stop. This will retract the spring can bang a sbot bag or camerl casefrom tbe tri-
loaded ground glass carrier to allow insertion of the pod, . A prac tic al alt er natiue for bac k- for example I
i- I film magazine. Slide the film magazine into the receiver packers is to carry a net bag tbat can befilled uitb
from the right all the way into the receiver. You should rocks or otber beauy objects and suspendedfrom
feel the magazinego into place as the ridges of its dou- tbe tripod.
ble light trap engage with the slots in the receiver. Re- Your choice of a tripod head is of equal importance.
turn the release lever to the closed position so that the Again, use the heaviest one you can to assure a sta-
ground glass carrier locks the film magazine into place. ble shooting platform for your panoramic image-mak-
TIP: Until you become completely familiar uitb ing.
your V-Pan, double-cbeck to make sure tbe ligbt
gen- magazine and tbe engaged. Grasp are traps to Depth of Field able You not be sbould tly pull back andforth.
slide or rock tbe magazine in tbe receiuer. You may be used to using the depth of field scales on
camera lens- Draw the dark slide completely out of the film maga- conventional camera lenses. tVith view
es, the techniques are somewhat different. First, there zine and make your exposure.
are two ways to controldepth of field with a view cam- Advance the film to the next frame. You can now make era such as the V-Pan: a second exposure, or replace the dark slide and re- . By focusing at infiniry or at the hyperfocal distance move the film magazine to compose and focus the next
and stopping down the lens until the necessary depth image.
of field is obtained.
. By using the Scheimpflug Principal to control the
plane of focus itself through the use of lens tilt and
Advanced V-Pan swing.
The Stop Down Method Gamera Techniques For distant scenes it will usually suffice to focus on ob- Like all view cameras, the V-Pan mkIII offers avariety jects at infinity, then stop down the lens as necessary of image controls, rVe will touch briefly on some of to obtain sufficient focus on near objects. You can re- these techniques. If you want to learn more about gen- fer to depth of field tables provided by lens manufac- eral view camera principles zind practices, there are turers, but in practice view camera photographers most
many reference works on the subject. often determine the appropriate f-stop by trial and er-
A few suggestions include Vieut Camera Tecbnique, ror, simply by examining the ground glass to deter-
by Leslie Strobel; TIte View Camera: Operations and mine whether desired subjects are sharp. Here is a sug-
Tecbniques,by Harvey Shaman; Tlte Camera,by Ansel gested procedure for general sceoes:
Adams (Book 1 of the Ansel Adams Series); and Pho- . '$fith the lens wide open, focus on a distant object.
tograpby V/ith Large-Format CamerAs, published by Then, stop down the lens while examining the im-
Eastman Kodak Co. Most of the techniques covered in age with a magnlfier until closer objects also appear
I these volumes can be applied to the V-Pan camera. b sharp.
TPz Since tbe ground glass image grows darker as
Tripod Selection the lens is stopped dotan, it is sometimes dfficult to
is precisely sbarp. Wben you View cameras like the V-Pan must be used on a stur- tell uben an image
dy tripod, one stable enough to support the camera must be assured tbat allparts of a scene are in ac-
without wobbling orvibration. If you're used to work- ceptablefocus, stop down one or two more stops af-
ing with small or medium format cameras, chances are ter tbe image appears sbarp to your eye.
'$7hen the tripod you have isn't heavy enough or sufficiently greater depth-of-field is required, you will need
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tlView original page 10Page 11 · Read text
to focus the lens at the hyperfocal distance-the near- distance from the camera that results when lens board
est point at which objeets at infinity remain in focus at and film plane are parallel. Tilts rotate the plane of fo-
a given apertLtre. Vhen camera focus is adjusted to a cus in a top to bottom direction, and swings rotate the
hyperfocal point, near objects to as close as one-half plane from left to right. The two movements can also
the hyperfocal distance will remain sharp. be used in combination.
Again, depth-of-field tables can be used but trial-and- Using Scheimpflug on the V-Pan by tilting the lens
error is perhaps the most practical method. Here's a down, for example, can give you shaqp focus on a near-
suggested approach: by subject (i.e., a bed of flowers) in the close fore-
. rVith the lens wide open, watch on rhe ground glass ground while more distant objects (i.e., a range of
as you focus alternately on the nearest and farthest ob- mountains) in the Llpper porrion of the photograph
jects that you wish to be sharp in the final image. Ser also remain in focus. This effect is independent of the
the focr-rs at about the mid-point between these two f-stop setting, and results frorn the fact that tilt (and
settings. swing) selectively move areas of the image to differ-
. As above, stop down the lens while observing the ent lens-film distances. It's like being able to focus sep- arately for the top and borrom (or left and right) por-image on the ground glass until both near and far tions of the photograph.objects within yoLrr desired depth-of-field appear sharp.
Stop down one or two more stops as insurance. TIF: Tbe ntle to remember is tbat for ouerall sbarp
plane of tbefilm, tbe plane of tbe lensIn some circumstances you may need to change focus, tbe board, and tbe plane of tbe subject must eitber beyour focus point and repeat this procedure. In gen- parallel to each otber (as in.A conuentional cam-eral, the hyperfocal distance will be at abor-rt the era); or meet at a singlepoint (tbe Scbeimpflug ef-one-half point when depth of field is relatively small,
such as when working with long lenses, wide aper- fect). Understanding and applying tbis rule makes it easier to adjust tbe camerafor Scbeimpflug.tllres, and close subject distances.'When depth-of-field
is large, the hyperfocal distance is about one-third of An example of the Scheimpflug principal is dia-
the way into the scene. grammed in Fig. 7. us , ds P/L4
Keep in mind that the Scheimpflug method will notUsing the Scheimpflug Principal work with scenes in which the major elements are not
This method of focr-rs control depends on using the ax- positioned near a common plane. For example, a dis-
ial tilts and swing movements on the camera's front tant scene framed by nearby foliage at both top and
standard. These movements change the plane of sharp bottom involves two separate planes of focus-one
focus from the straight, vertical orientation at a fixed for the nearby foliage and one for the far subject. In
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flg tbe plane of tbe lens board, ancl 7- In 1Qe Scheimpflug effect, tbe subject wilt be in focus uben tbe plane of tbe subject,tbe plane of tbefilm meet at a common point.
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.s,"
this case, only the stop down method can be r-rsed to Shooting in the
control depth of field. Vertical Format Also, since few scenes have all of their elements pre-
t@ use the"V-Pan's camera movements cisely arrangednear a single plane, in practice yor-r will" It isalso possible
need to use the stop-down effect in conjunction with to make photographs in the vertical format.
Scheimpflug to attain overall image sharpness. First TIFz For ueftical sbols, rotate the camera on the tri-
adjust the camera tilt or swing for the Scheimpflug pod to the left so tbat thefilm magazine will be in-
effect, then stop down while examining the ground sertedfrom tbe top Before releasing tbe cAmera,
glass until all areas are in sharp focus. be sure tbe tripod is capable of xpporting it in tbis
be unstable and TIPz lVhen you plan to use cnmert mouements, be position. Tbe configuration may
F sure to cboose lenses uitb large image circles. TLtis could cause tbe tripod to tip ouer. For maximum
is true becausefront standard camera mouements stability, position tbe tripocl so tbat one leg is di-
cbange tbe position relatiue to tbefilm of tbe im- rectly belou tbe camera.
I age circle projected by tbe lens, uhicb may cnuse \il7'hen shooting in vertical format the camera move-
uignetting of tbe image area. ments create different effects than they do when the
camera is in a horizontal position. Specifically, the lat-
Perspective Gontrols eral shift and rise/fall movements switch their roles, with the shift movement now restrlting in rise and
Besides controlling the plane of focus, the front stan- falland rise/fall movements providing shift. Similarly,
dard camera movements of the V-Pan camera allow the axial swing and tilt movements also swap roles.
extensive control of perspective, or the shape of ob- The swing movement prodLrces the effect of tilts,
jects as they appear on film. We have seen a basic ex- and the tilt movements prodr-rce swing. This may seem
ample in the previous section, where front rise or fall complicated, but in practice once yoLl are accustomed
was used to compose a panoramaof a ciry skyline with- to using front standard movements these transposi-
out the keystoning effect that would result if the tions will come naturally when the camera is tipped to
camera were simply pointed Llp or down, Perspective allow vertical compositions. Use the appropriate move-
controls are most useful when photographing archi- ments just as you do to rnake horizontal images.
tectural subjects such as this, but can also play a role
in creating images of naturalscenes (i.e., keeping for- Using Filters est trees vertical).
A real advantage of the V-Pan system is that it allows The camera movements that affect perspective are rise,
fall, and shift. In field use, you are likely to rely pri- unrestricted use of filters, including polarizers, gels,
marily on rise and fall, which sr-rffice to keep the sides color and neutral density graduated filters, and special
filters to create starbursts, rainbows, and other dra- of br.rildings parallel and eliminate keystoning. Re-
'When matic effects. Be sure to take the filter factors into ac- member to ahvays begin with the camera level.
you need to take in more area atthe top of the picture, colrnt when determining your exposures.
use the front rise to re-frame the scene. Vertical lines Polarizers are perhaps the most important alternative,
all across the picture area will remain parallel. with their ability to reduce reflections and intensifiz col-
or saturation. JLlst as with a conventional reflex caln- If you are shooting frorn a high angle or wish to include
more foreground in your composition, use the fall to era, yoLr can rotate the polarizer while observing the
maintain parallel perspective rather than tilting the effects on the ground glass. This is best done as the fi-
camera down. nal step before taking a pictr-rre.
When true color renclition is desired, color correc- Just as rise and fall maintain vertical lines in parallel,
camera shifts can control horizontal line divergence tion (CC) and light balancing (LB) filters and gels can
or convergence. For example, if you are shooting a also be r-rsed with the V-Pan. Because of their econo-
front view of a building from an angle other than my and versatility, gels may be a better choice than
straight on, its horizontal lines will appear to converge screw-in filters. Yor,r might choose a set of for-rr-inch
away from the camera,By turning the camera until the gels and a gel holder with step-down rings to fit the
front of all of your lenses. Three-inch gels work well film plane is parallel with the front of the br-rilding, then
with rear-mounted gelholders such as the Xenophon using lateral shift to re-frame the scene, this conver-
gence is eliminated. system from Cah-rmet Photographic, Inc.
In scenes such as this, a combination of rise or fall and
lateralshift may be used to maintain overall control of
perspective. In addition, tilts or swings may be used
to control the plane of focus as described above.
,{ 11
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and bellows are required with some lenses. Not all SpdcificCiions lenses will cover 6x77 cm. format.
V-Pan Mark lll Panoramic Gamera Coverage Requirements: A lens must have a mini-
All weigbts and dimensions are nominal. mum image circle of 181mm to cover the 6x17 cm.
format from corner-to-corner. (Minimum coverage
does not allow for camera movements.) Camera Type: Monorail Panoramic View Camera Front Rise: 2"
Rear Standard: Includes built-in ground glass, film Front Fall: 1" magazine release lever, and receiver for V-Pan
'Y 6x77 cm. filnr magazine. Front Shiftr t%" leftor right.
Front Standard: Full movements including rise, fall, Axial Tilt: Limited only by constraint of the bellows.
shift, tilt, and st'ing, all with click-stop zero de- Axial Swing: Limited only by constraint of the bel-
tents. lows.
Bellows: Interchangeable 16" pleated fabric. Optional Tripod Block Dual locking screws; has both /t"
bag bellows and extended bellows available. %" tripod threads. ^nd
Film Magazipe: Interchangeable with removable back Camera Dimensions: 9tA" W x93/," H x 16" L (assem-
plate, spring-loaded pressr-rre plate. Dark slide slot bled on standard rail; with rail removed the cam-
. is fitted with a spring-loaded light trap. era will pack in a space approximately 9'/0" x93A"
Dark Slide: Stainless steel. x 4")
maga zine) Ground Glass: Interch:rngeable. Camera Weight 5%lb. (withor-rt film
5Yz" H x 73A" Film Size: 120 roll. Film Magazine Dimensions: I2%" W x
Format: 6x17 cm. D.
Fifm Magazine Weight : 3Y'lb. Frames per Roll: Four 1n6x77 cm. format.
Film Advance: Manual; frame alignment via film
viewing ports in film magazine.
Film Advance Knob: Fitted with special clutch for
one-way operation.
Monorail 16" standard rail. Optional S", 10" and26" Entire contents @ 7994 by Vari-Pan, Inc.
rails available. All Rights Reserved
Focusing: Via rack-and-pinion with 1" knob; tension
is adjustable to prevent freewheeling.
Ienses: Takes view camera lenses mounted in lens Because we are constantly striving to improve
boards. the design and function of the V-Pan camera, we
Irns Boards: 3tle" x3'A"; accepts all Linhof reserve the right to change specifications and/or
Tcchnika-type boards. features without notice. Patent Applied For.
Iens Focal lrngths: Vill accommodate lenses from
65mm to 1200mm; optional or special order rails Printed in U.S.A.
Vr \N rtltr\NloEt/E\ntl lG Mark lll 6x17 cm. Modular View Camera
Vari-PiElrr, lnc.
2725 Sutton Avenue
St. Louis, MO 63143
www.butkus.usView original page 13From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
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