As others have said-- you're using practically no rise (in fact, you're using a bit of fall) on the front standard. Level the base, set front and rear to 90, and raise just the front standard. A little movement goes a long way.
As others have said-- you're using practically no rise (in fact, you're using a bit of fall) on the front standard. Level the base, set front and rear to 90, and raise just the front standard. A little movement goes a long way.
Thank you, all!
David + Doremus ~ I recreated step-by-step the camera set-up as pictured, while looking thru the lens to the corners of the GG. Yes, I can see now the obstruction does come from tilting the rear standard to vertical while the camera is pointed upward to this degree.
Corran + Alan ~ I had tilted F&R to vertical to keep the lens and film planes parallel as I pointed the camera upward to gain height for my desired composition. I did this because it appeared the amount of F rise needed created an obstruction. I'll have to revisit the subject site to double check myself there ; )
Huub + Vaughn ~ Maybe it's my eyesight (I use magnifying "reader" glasses to view the GG, and add a loupe for fine focus), but I'm still having trouble seeing much of anything while looking thru the clipped corners toward the lens. Oh, well. I can see fine looking in the opposite direction, looking thru the lens toward the GG for obstruction.
ic-racer ~ Thx for the pics! So is that a bellows support you've attached to the Cambo? Very nice! Did it come with the camera? Could you show/tell more about it and how it's attached, please?
Thanks again to all! I appreciate your kind and thoughtful replies. Now I just have to improve my technique and get better acquainted with the camera ; )
All my best,
David
Try pulling your head back enough to focus your eyes on the back of the lens -- and you do not have to be under the darkcloth. I find it difficult to understand why you can not see the back of your lens thru the clipped corners (silly, but remember to open the lens).
Under the darkcloth and with the proper eyesight, one can also see a focused aerial image in the clipped corner, so one will know what is happening with the image in the corners...very important to me.
"Landscapes exist in the material world yet soar in the realms of the spirit..." Tsung Ping, 5th Century China
David,
A few remarks:
First, If you have clipped corners on your ground glass, which I believe you do, you simply look through the empty space at the corner toward the lens, with the lens stopped down to taking aperture. If you can see the entire aperture, i.e., the full circle (which may appear oval in shape with really short lenses), then there is no vignetting. If you can't, there is something in the way or your lens simply won't cover that far (i.e., you are outside the image circle at whatever corner your are looking through. When applying front rise, it is only necessary to look through the bottom corners.
Another, similar method is looking back through the lens at the corners. I often find this easier, especially if the camera is placed rather high. Stop down to taking aperture and look back through the lens at the corners. If you can see the corners clearly, no problem. If you can't either something is in the way or you've run out of coverage.
Do set up your camera as you had it for the shot in question and take the back off so you can see if the bellows are in the way. You don't appear to have done this. If the bellows are the problem, and I believe they are, then figure out a way to get them out of the way. It's a common problem with long bellows like the Chamonix has. See my earlier post.
As for your movements: As others have mentioned, it is often easier to set up your camera level and just use front rise. The Chamonix has plenty. However, if you run out of rise, the method you are using is good, provided that you use primarily the front rise to get the job done. So, try the camera level first. If you run out of rise, leave the rise at its maximum height and point the camera up till your image is just a bit higher than you really want it. Tilt both standards back to parallel and then use the front rise to fine-tune.
Best,
Doremus
This has all been a very good discussion of the bellows possibly getting in the way.
But I would like to add one more possibility:
David (being new to this) did not remove the dark slide completely.
Was enough lingering inside the sheet film holder to block some light?
I do NOT think I am right about this because if this happened, there should be more of a solid edge to the blocked light. But I just wanted to put it out there.
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