How much movement do you actually use?

Discussion in 'Talk About Techniques' started by Carl Hall, Sep 27, 2016.

  1. Carl Hall

    Carl Hall Member

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    Now that I've shot a decent number of images on my Nagaoka, I've come to realise that the amount of movements that I actually need to use for landscapes, is much less than I originally thought!

    Surprisingly, rise and fall have been my most used movements, and probably the biggest movements too. I've had a couple of times where I've used rise and fall close to their maximums, but tilt has only ever been a couple of degrees at the most. I'm very surprised looking through my notebook at how many photos I've taken that had no movements whatsoever.

    So, I'm curious if this is similar for most LF users, or if anyone actually finds themselves using a lot of extreme movements on a regular basis?
     
  2. Glenn Haworth

    Glenn Haworth New Member

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    The only movements I use for landscape are tilt front/rear with the very odd use of swing and only a degree or 2 at that. Can't remember the last time I used rise, fall and left/right shifting, definitely a few years ago.

    So no extreme movements here :)


    Sent from my iPhone using Tapatalk
     
  3. Dave_P

    Dave_P New Member

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    You have generally be shooting something very close up or with a long lens to need more than a couple of degrees of tilt to bring everything into focus for landscapes etc.
     
  4. Alan9940

    Alan9940 Active Member

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    After nearly 40 years of LF landscape photography, if I use any movements at all its forward front tilt, rearward back tilt, front rise/fall; and, slight movements at that. It's after all these years of not using (or needing) extreme camera adjustments that I've really grown quite fond of using my Crown Graphic. That thing is a brick when closed and I pack it anywhere! :)
     
  5. Sal Santamaura

    Sal Santamaura New Member

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    Only slight tilt, occasionally, but almost always front rise. At the Grand Canyon, substantial front fall.

    "Landscape" is a word that describes various scenes, depending on location. The movements required are determined by one's particular landscape. In the American West, what's before a lens might be configured more like the things Carl photographs in Somerset than what Glenn encounters in Newbury.
     
  6. Stephen Batey

    Stephen Batey Well-Known Member

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    I'm always using front rise/fall, although as the lens starts at the bottom and I move it up to roughly the centre, it's just possible that I always have it exactly centred for the final framing, although I doubt it. I've rarely used front tilt, and not very much, for landscape. And that's it.

    Turn to architecture, and I've probably needed them all at some time ot other, even if not very extreme.

    It's going to depend on your subjects.
     
  7. Graham Patterson

    Graham Patterson Member

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    If you step back from the camera and imagine where the subject, lens, and film planes fall, it is usually clear just how little movements are needed a lot of the time, especially with normal focal lengths. I think the most swing I ever used was when I first got my 5x4 and tested it out on a bookshelf viewing from the side. :cool:

    I remember photographing a dockside gantry with a fence at my back, and squeezing every bit of rise I could get out of my Wista and 90mm. The combination was bellows limited. http://grahamp.dotinthelandscape.org/images/mareisland/gantry.jpg
     
  8. Isabel

    Isabel Active Member

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    Since I am not really a landscape photographer, I am probably the "oddball" here ;). I use tilt and swing quite extensively with various degrees depending on the atmosphere and dream-like quality I want to create. I use rise and fall basically only to adjust the framing after I have applied my tilt/swing or in rather architectural shots (at least my version of architecture :eek:).
    But for the rare occasion where I photograph a "straight" landscape image I agree with you, far less movement is necessary than I expected. :)
     
  9. KenS

    KenS Active Member

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    Funnily enough, that after so many years of experience with large format, it is something that I have never really thought about... I just make the required 'adjustments' by that which I observe on the ground glass. Being now 'old an grey' much of my 'mathematical' reasoning has diminished due to a diminishing of the amount of required mathematical mental 'exercises' (other than balancing the bank book) it may have been somewhat replaced by more immediate reasoning/ problem solving.

    Might it be, that with any and all lenses, the closer you are (i.e. a higher 'magnification' at the film plane) requires greater movements due to the diminishing loss of DOF at any given f-stop?

    Ken
     
  10. Stephen Batey

    Stephen Batey Well-Known Member

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    I'll start by making the important distinction between depth of field and depth of focus; the former refers to the near and far limits in front of the lens that are sharp, and the latter to the near and far limits behind the lens. As you approach ever closer, you need ever more extention to manage it, and the depth of field shrinks. At the same time, the depth of focus increases.

    Therefore, as you get closer movements at the rear will be made in a region where you need a large amount of movement to affect the focus, although the effect on subject shape will be the same.

    Front movements will be unaffected by this.
     

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