Best way to find out is to TRY IT!
It will also depend on the camera. When you get into the really big cameras your arms are only so long and using the rear is a whole lot easer then the front and the same goes for longer lenses.
Best way to find out is to TRY IT!
It will also depend on the camera. When you get into the really big cameras your arms are only so long and using the rear is a whole lot easer then the front and the same goes for longer lenses.
True, true. And "really big" is a relevant term. The lens of choice on my Conley is a 24 inch. There is no way in hell that I can reach the front and still see the glass. (5'6" tall, 31" sleeve lengthOriginally Posted by RichardRitter
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Hi -- many thanks for your answers so far. It is much appreciated. In response to some of the posts, I'm using an Ebony non-folding camera (the RSW 45).
On my field cameras, always the front, but on my monorail, always the rear, because it is easier to reach.
joe
eta gosha maaba, aaniish gaa zhiwebiziyin ?
As some have already mentioned, moving the lens -- the front standard -- will change the appearance of the scene on the film. Near objects images will move slightly in relation to distant objects. If you are shooting closeup, or if you have important foreground objects in a landscape, it might make a difference. Most of the time it doesn't materially affect the image, or we wouldn't be able to use most field cameras out in the field...
I can barely change the f-stop on my 19" lens while looking at the ground glass. I just got a 24" lens -- I'll need arm extenders!
Vaughn
I think it's a matter of personal preference. For close work I use the general set up of the camera to get a rough image size / reproduction ratio, then try to move the camera to get close to focussed. After that, I punt, and do whatever it takes to work out a good image.
Best,
C
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