For correcting converging lines...

[ic-racer]

Are there adavantes one technique has over the other?

thank you

Other than one works and the other does not?

[C_Remington]

Other than one works and the other does not?

So, which is which?

[Leonard Evens]

As other have said, if you want verticals to be parallel, make sure the back is not tilted. Tilting the front has no effect on whether or not verticals are parallel, but it can effect what is in focus. Finally, use rise fall and sideways shift to control waht is in the frame.

[Heroique]

Sometimes, an old photo is worth 1,000 words.

Initially, I set-up in front of the camel – but that concealed its shadow.

So I moved my tripod to the left, and turned the camera to the right to face the camel.

This composed the shadow the way I liked – but now the wall’s masonry lines (and the front edge of the camel’s base) converged toward the right in a distracting way.

So I applied back swing (left), bringing my film plane parallel to the wall.

Presto, all the converging lines “corrected” themselves – that is, my back swing “changed” the perspective (that is, if you choose to define perspective this way). DOF wasn’t a problematic issue.

(Apologies for my shadow – the setting sun sneaked it into the scene.)

Toyo 45c
Polaroid Type 55
Fuji A 240mm/9
Epson 4990/Epson Scan

[C_Remington]

As other have said, if you want verticals to be parallel, make sure the back is not tilted. Tilting the front has no effect on whether or not verticals are parallel, but it can effect what is in focus. Finally, use rise fall and sideways shift to control waht is in the frame.

That's what I understood from reading the previous posts. That last post was distracting. What a nasty man.

[Leigh]

These to maneuvers I call "point and swing/tilt" and are really useful on cameras with limited shift/rise/fall, such as field cameras.

They're not limited to field cameras.

My 8x10 Sinar F2 has limited rise/fall. Apparently they expect you to tilt the base rail as needed.

...if you have a camera that allows it and takes off-center Technika boards, is to mount the board turned 180°

That works fine as long as the mount does not require the board to be bevel-down.

- Leigh

[Doremus Scudder]

... That works fine as long as the mount does not require the board to be bevel-down. - Leigh

Yeah, I know. I have Wistas and a couple other field cameras that don't allow upside-down mounting of the lensboard and with which I can't get that bit of extra rise using the offset.

I've always wanted to design a camera that took perfectly square lensboards with an offset so that one could mount the lens in any orientation and use the offset to augment the rise/fall/shift movements. Maybe someday I'll design or modify a front standard anyway...

Best,

Doremus

[Jim Jones]

Both the head and the lens stage on my ancient DeJur Versatile Professional 4x5 enlarger can be tilted, permitting distortion correction during printing. On other enlargers, I've shimmed one side of the negative carrier and tilted the easel to accomplish this.

[Andrew O'Neill]

I've always prefered a little key-stoning. Building tend to look odd to my eye when the convergence has been corrected.

[ic-racer]

As other have said, if you want verticals to be parallel, make sure the back is not tilted. Tilting the front has no effect on whether or not verticals are parallel, but it can effect what is in focus. Finally, use rise fall and sideways shift to control waht is in the frame.

Everything you need to know to set up a view camera in that post. Really! I'm amazed at how people can write a whole book on it