IMO, the uber-precise machine set-up levels are way overkill for general photo applications, as they are so sensitive that with a camera on a tilt head, a bare tweak to the tilt will send bubble hard to the other side, so not really practical in the field... It is useful to calibrate other levels and I use to level benches, enlarger tables, machinery, set-ups etc... But VERY hard to use casually... I use them as reference standard...
For camera alignment during overhauls, I have found machinist's adjustable tri-squares to be invaluable to align standards, re-zero settings and locks, is the bed or rail really straight etc... You can usually find a flat to rest the base on while the rule goes up to check if a standard is tilted a little while set at zero etc... Rules for my Mitutoyo are up to 24", and make fine straight edges too... Great for fixing enlargers, easels, camera backs etc... And very useful in the print mounting/matting department... And for wood/metalworking is very valuable!!!
As a former architectural photographer, just used to use a decent torpedo level... Worked fine and better than camera levels...
Got rid of gridded GG's... Too distracting, as I now allow image to "float" on GG and establish new relationships with the borders and negative space...
Note that front to back leveling only works on one level plane, forcing front rise/fall, possibly creating an unnatural look sometimes... To create relationships with other verticals, I often tilt camera up and down quickly until verticals harmonize, then use front rise to frame edges... And have found different horizontal levels when shooting upwards of buildings etc to create dynamics (that look natural)... And sometimes use tilt movements to add a little distortion, but that's just me... ;-)
Grids and levels can be just relative...
Steve K
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