DON'T, don't, don't, don't ever use movements on your camera unless they are needed! Their use is vastly overrated, and generally unnecessary -- perhaps a little rise or sift for buildings, sometimes (rarely) a little tilt for landscapes if there are no nearby objects which will be thrown out of focus.
(This is different than if you are in the studio, photographing an object which requires your view camera to be bent into positions like a pretzel.)
Wilhelm (Sarasota)
While I'll agree a book is useful, I think you can learn a lot more with a bit of hands on tuition.
It's far easier to demonstrate than it is to write about. You might look at the UK Large Format forum, most of us (if not all) are also members here. There are a few LF users near to you who would probably help.
Ian
The previous recommendations for books to read are all good, but I would differ from Steve Simmons in that I would put his book first in the list, as an introduction to the subject.
You should also look at the material on focusing in the Large Format Website (lfphoto.info), in which this forum appears.
Before you get into tilts and swings, experiment with rise/fall and swing. Those are the movements that are most commonly used because you use them to determine the basic framing of the photograph and where the center of perspective appears to be.
It will take some effort to understand tilts and swings. You will see lots of discussion of the Scheimpflug Rule, but that is only one necessary element. The important principle is the Hinge Line Rule, and that is not discussed as thorughly. Merklinger goes on at great length about it in various of his publications, which are available on the web, and he has a really neat animation which helps you to understand it. The lfphoto.info site also has some information about it.
The hinge line helps, in particular, when you try to understand depth of field when there is a tilt or swing. The depth of field region forms a wedge starting at the hinge line. Once you have set the tilt/swing, if you focus by moving the rear standard, the hinge line stays fixed and the whole wedge swings about it. The Scheimpflug line, on the other hand, moves both horizontally and up and down. One important consequence of this is that you can't get much vertical depth of field close to the lens, so scenes requiring that are not amenable to improvement by the use of tilt/swing movements.
Looking back over how I started with LF, about 18 years ago, I would have to say that I wish I had spent a couple hours with the camera next to a table, trying to maximize sharpness with a wide open lens focusing on small objects in different positions, then with movements plus stopping down. (A line of something on the left, on the right, a place mat from near to far, etc.) If I had done that up front I would have learned pretty quickly basic things it took me years to understand in the field.
I'm seconding Leonard's suggestion to take a look at Merklinger's work.
I started LF photography a little over a year ago, and I thought I'd understood the Scheimpflug rule. But I incorrectly thought that the angles between the three planes were evenly split. This caused a number of misfocussed shots and frustration because I couldn't figure out what had happened. After I read Merklinger's text I understood how the focal plane rotates, which was completely non-intuitive for me.
Anyways, check it out. It may save you some unnecessary grief.
I think you meant to say "experiment with rise/fall and shift". I personally think that an understanding of tilt is fundamental to making the most of the large format camera although used without understanding can ruin many shots. Hinge line is the key to understanding though, I agree.Originally Posted by Leonard Evens
I have to take a guess that most of your landscapes contain little close foreground and are mostly not 'intimate' landscapes. If you do use near/far compositions, tilt is indispensable, especially to allow you to use f stops of f/16 to f/22 where you are not affected by diffraction (most of my shots seem to be about f/22 1/3 ). When you are working with meters of a subject that has 3D shape to it, some combination of tilt/swing is typically essential to get a reasonable shape to the focus. It's a lot harder to understand than planar focus though so it's more likeley to get wrong. If you're a fan of Dykinga, Muench, Cornish, etc then you'll often find an advantage to be had in using tilt/swing in your pictures.
Tim
I'll "third" the recommendation for Merklinger's articles. On his website, he includes several animations that are excellent aids to understanding what happens with the different movements.
http://www.trenholm.org/hmmerk/index.html
1) Nope, 2) Yep, 3) Who he?
Wilhelm (Sarasota)
UK Photographer - Have a look for a book 'First Light' or if you like you can look at his website (although it's not the best for browsing pictures - look at
http://www.joecornish.com/products/v...p?sectionid=15
Tim
Well, I am going to have to disagree with the Merkingler hinge rule and it's utility, specially in the field. I can see where it is useful if you are doing table top, have all the control and time to do all the calculations, but in the field forget it! Besides, if you absolutely have to do this, buy a Rodenstock focus and dof calculator and will make it a lot faster.
I agree with Tim that the mark of a good LF photographer is one that knows how and when to use movements, both front and back. The best advice I can give to someone who is starting is that he/she needs to learn how to use them, but it does not have to be overly complicated and that the pictures they see in books where the camera is twisted into a pretzel are pure fantasy.
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