Photographing long hallways - tilt or swing to achieve maximum focus?

[Drew Wiley]

At f/32 diffraction is so minor that its essentially meaningless in the print. In fact, it's right about that point you're actually starting to overcome film lack of flatness in a conventional 4x5 holder. In the case of the original question, there is no right or wrong. Use the challenge to actually study the ground glass image for ideal esthetic effect.
Learn to dance with the image instead of fighting with it. There's no way to tame it without resorting to a short focal length lens well stopped down for greater depth of field. Focus stacking is just a stunt. I've done quite a few cave and tunnel entrances, a similar problem. You simply have to prioritize what parts of the scene you need to be in acute focus and which can be a bit softer, and then judiciously use your view camera movements. Having a lens which is friendly to the rendition of those softer areas helps. But it's really an esthetic as much as a technical question.

[goamules]

Or simply shoot a soft focus, wide open. The softness makes a "zone of Kindafocus". Verito on 5x7:

[Drew Wiley]

Yes, ghostly glows at the end can be rewarding. But I personally like to accentuate such effects by the contrast of having distinct portions of the scene highly detailed and textured, and then perhaps the opposite direction, progressively deepening shadows. I appreciate soft focus images like yours, Garrett, but I'm not a soft focus shooter myself, and probably never will be.

[Vaughn]

Why do you want to create an image of a hallway?
What do you want it to look like?
That determines how one approaches the space.

Similar focusing issues...4x5; 150mm lens (Wharf, 16x20 print) -- 5x7; 210mm lens (Sea Cave, carbon print) -- 8x10; 300mm lens (Tunnel, pt/pd print). Closed down all way the way, more than likely...with careful placement of the plane of focus. No movements, more or less.

[Oren Grad]

You simply have to prioritize what parts of the scene you need to be in acute focus and which can be a bit softer, and then judiciously use your view camera movements. Having a lens which is friendly to the rendition of those softer areas helps. But it's really an esthetic as much as a technical question.

What Drew said. Sometimes there is no technical solution to a problem as posed, and all you can do is decide which compromises better suit your purpose.

[Jim Noel]

Vaughn, I really like those images! Not just for focus,but exposure, organization, everything.

[Vaughn]

Vaughn, I really like those images! Not just for focus,but exposure, organization, everything.

Thanks.
Funny in a wonderful curious sort of way -- looking at the thumbnails, I realized how in each one, I bring the viewers eyes close to center but down below the center line. Like hell if I am going to let their eyes escape! LOL! These were taken decades apart as I moved up in format.

[LabRat]

First, make a chart of hyper focal distances for each lens for different stops to use, and maybe a focus scale on the bed of the camera to dial in focus, rather than view it (my old Linhof Tek III has this on a plate on gg cover and is sometimes used in night or dim locations)... Might help save some time in those in and out locations you shoot...

Put focus on a point of interest in the hall, as the viewer's eye will tend to expect it in focus, but will average out other perspective focus...

And careful in those sites!!! I have been in some of those sites long ago (I'm from Perth Amboy) and they were falling apart back then... I don't remember details, but I think it was one of Aron Siskind's star pupils that would shoot in buildings that were to be demolished in Chicago... He was found dead and alone in I think the old Stock Exchange building after falling through a hole in the floor... His 4x5 B/W's were gorgeous, but a sad end to him... (Someone here help me out, I can't remember his name...)

Good and bad Fresh Kills dump is retired... I did some work work there, and was a strange alien environment day and night!!! Surreal!!!

Stay safe!!!

Steve K

[Tin Can]

aka 'THE MAN WHO LOVED BUILDINGS'

https://www.chicagotribune.com/news/...174-story.html

He died for this

web2-Stock exchange by TIN CAN COLLEGE, on Flickr

[Thom Bennett]

Try this: focus on the nearest point you want in focus. As you begin to stop down, focus more into the scene while keeping that near point in focus. At some point (if the gods are with you) the far point will fall into focus as well. Essentially, you are establishing the hyperfocal distance for that scene/lens/distance. It's all on the ground glass.