Well, that explains our difference in orientation, Oren. I recommended getting a handle on movements FIRST because that is how I learned depth of field control using a view camera VERSUS conventional smaller gear. Otherwise, it's just an ordinary camera but bigger. For example, learning front/rear tilt can potentially put things in acute focus all the way from your own toes to a mile away, even with a relatively long lens; doing so based on lens theory alone would be impossible. Studio tabletop product photography is unthinkable without use of movements. Point-blank studio portraiture might not need movements; but I can't imagine LF environmental portraiture without at least that option being available. As far as I'm concerned, the availability of movements like swing and tilt is the no.1 solution to depth of field issues, the very first thing I think of. Even small format manufacturers have figured that out, and are now offering special tilt lenses, though these are only a partial substitute for the full movements view cameras provide.