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Taking pictures with view cameras
View
camera movements
Landscape with Large format
View
camera movements
Landscape
Landscape Design
Landscape with medium format
Pentax 67II system
for outdoor photography
Medium
format & large format
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Solutions for controlling composition through camera movementPARALLEL
Movements
To keep all lines parallel
such as when you want to photograph
a building
or a tree, but you must angle the camera upwards. Solution:
RISE.
First, align the camera back. Camera must be parallel to the subject. Then, by using the rise movement, the lens' point of view is moved above eye level.
This will keep vertical lines parallel. Rise, fall and shift are all parallel movements that move the lens up, down and sideways relative to the center of the camera back.
INCREASED
CONTROL
OF PERSPECTIVE
AND
PARALLEL
LINES
You need more control of
perspective than you can achieve with
front rise, fall
and shift.
Solution:
DROP BED
Front and rear are tilted backward at the same degree and thereby kept parallel,
giving the effect of increased front fall.
I NCLINE BED -Front and rear tilted forward at the same degree and kept parallel, giving the effect of increased
front rise.
Shift Bed
Front and rear are swung in the same direction and same degrees. This
gives similar effect as Shift, but with much more control.
INCREASING DEPTH OF FIELD
You see a vast landscape with flowers and distant mountains. You
want to have both the flowers near the camera and the distant mountain in focus at the same time. Even if you used the smallest aperture on your lens, you might still need greater depth-of-field.
Solution:
Front TILT
Forward
Tilting the lens forward will extend the plane of focus far beyond the effect of using a small lens aperture and allow you to get near and far objects in focus at the same time. Front tilt is usually combined with using a small aperture such as
f-16 or smaller. It does not replace
using a small aperture, but rather enhances the effect over a greater
subject plane.
Solution:
Front Swing
Imagine focusing on a series of
lines such as telephone poles, running from near to far, diagonally through your composition. With ordinary cameras you can either focus on the beginning, middle, or end of the
poles, use a small aperture, and get as much of it in focus.
With
field
camera, you can swing your lens to
position it roughly parallel to the lines. This will allow you to get the
poles in sharp focus from beginning
to end, even with a wide open aperture.
SELECTIVE FOCUS
You want to focus on just one
area of the scene everything else a soft blur.
Solution:
Front TILT-BACKWARD
This
can be used to accomplish these selective
focus effects. Front swing can be used for a similar effect with
objects to the left or right of your
composition center. Swinging in
either direction
will bring objects in
or out of focus.
CORRECT OR DISTORT THE SHAPE OR SIZE OF AN OBJECT
You want to emphasize a large rock, or other visual element in the foreground of a landscape.
Solution:
TILT
By tilting the
back away from the lens, you
will
notice
that the
size and
shape of
objects in the foreground become
exaggerated. Rear Swing will pivot the back from side to side, manipulating the shape of objects to the right or left of the composition.
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