Large format Camera

Movements
and
Operation

Presented by
N. David king
619-276-3225
© N. David King
All rights Reserved
Large Format Camera Movements and Operations Page 1

COURSE CURRICULA

The Large format camera, in “View” and “Field” versions, are the
primary tool for many of the commercial/professional
photographic disciplines. Especially for product, advertising,
illustration, and high-end fashion and portraiture work, as well as for
landscape and nature photography this workhorse camera is the tool
selected whenever the ultimate in quality is required.

This course will teach the rudiments of using this tool to control and
enhance the image.

Why Large Format Large format cameras shooting a negative in

the 4”x 5” size and larger are cumbersome to
carry and slow to set up. So why would a
working photographer with deadlines to meet,
bother?

The answer is in the resulting image quality

and image control. No other photographic
tool, including digital post acquisition image
manipulation, provides the degree of control
and quality available in this format.

Even where the image will be manipulated

after acquisition by traditional airbrushing,
darkroom techniques, or via digital editing, the
old rule of thumb still applies: the better the
original image, the better the results will be.

Course Objectives After successfully completing this course. The

student will be able to set up and operate a
large format camera and use its optical and
film plane movements to control the distortion
and depth of field of their photographs.

Course Elements The complete course will contain:

1. An instructor-led lecture and

demonstration,
2. Handouts illustrating the principles,

© N. David King 2000

Large Format Camera Movements and Operations Page 2

3. A test, and
4. An assignment requiring the student to
demonstrate proficiency in the
manipulation of the image with the
camera movements.

Course Lesson Plan This Lesson plan contains

1. This introduction to the course section

on Large format controls and its
objectives
2. A topical outline/synopsis with references
3. A Copy of the class handout
4. A Copy of the examination to measure
comprehension
5. A Copy of the assignment sheet to
practice the techniques from the class.

Time Requirements To properly demonstrate the operation and

effects of camera movements really requires
considerably more time. Were this a real class
of 15-20 students, it would take between and
hour to an hour and a half of lecture time to
demonstrate principles and allow students to
observe the effects.

Prerequisites Large format Camera movements would be

part of a mid-level course for serious students
intending to go on into commercial or artistic
photography. It would assume they have their
own large format camera or access to one for
class use. Students should already have a very
solid grounding in basic photographic topics
and Zone System techniques. They should be
competent with hand held-meters and have at
least seen demonstrations on loading film
holders, and how to process and print large
format sheet film.

Additional Materials, Proper demonstration also requires the hands-

etc. on use of an actual field or view camera.

© N. David King 2000

Large Format Camera Movements and Operations Page 3

In addition to the classroom portion, the class

should then move outside to observe and try to
movements and their effects in the campus
environment where the correction of such
distortion effects as “Keystoning” and depth of
field manipulation using the Scheimpflug
Effect can be shown more clearly.

© N. David King 2000

Large Format Camera Movements and Operations Page 4

CLASS SYNOPSIS AND OUTLINE

This section contains a topical outline and synopsis of the material to be presented in
the Large format Camera Movements and Operations Class. (The topics labeled in
RED are the sections that will be presented in the mini- lecture for this interview.)

Reasons for Using Large format camera movements allow unique

Large Format control of
Camera
? Depth of field
? Distortion

Camera Types Types of Large format cameras include

? Press
? Field
? View/monorail

Parts of a Large A large format camera consists of the following

Format Camera parts (to be shown, demonstrated, and
defined).

? Bed
-Case
-Tracks
-Rails
? Bellows
-Types
Standard
Extended
Bag
? Front Standard
-Lens Boards
Standard
Recessed/Wide Angle
? Rear Standards
-Ground Glass
-Film Backs/Holders (types)
Sheet film
Roll film
Polaroid

© N. David King 2000

Large Format Camera Movements and Operations Page 5

digital

Moveable Elements Potential moveable elements available on large

format cameras (or any view/field type
regardless of format size) include:

? Optical Plane movement on the front

standard
? Film Plane movement on the rear
standard

Movement Types Possible movements of the standards include

the following (to be demonstrated):

? Raise (vertical movement)

? Slide/shift (horizontal movement)
? Swing (Vertical axis)
? Tilt (horizonal axis)

The movements can be combined to place the

lens and or the film plane in virtually any XYZ
position relative to the image.

The extent of these movements is a function of

bellows flexibility and the physical/mechanical
design and construction of the camera.

Image Elements Adjusting these two planes, in coordination,

Effected by effect the following elements of the image on
Movements the negative:

? Focus/Focal Distance
? Image placement on the film plane
? Image distortion at the film plane
? Depth of Field

Rules of Thumb Although somewhat oversimplified, the

following rules of thumb provide a starting
point for operation of a large format camera:

© N. David King 2000

Large Format Camera Movements and Operations Page 6

? Front element (optical plane) effects

depth of field.

? Rear element (film plane) effects

distortion

? Both elements effect image placement.

? Focusing can actually be done by either

the front or real standard, but is usually
done by the front since it has less effect
on the image size after composing the
picture. Some field cameras, however,
have a fixed front and all focusing must
be done by the rear standard.

Depth of Field Definition: The area of the image from in front

Control of the point of critical focus (the focal distance)
to behind it that will appear as if it were in
focus on an 8”x10” print.

Review concepts, definitions, and principles of

Depth of Field.

Review normal elements effecting Depth of

Field including:

1. Focal distance
2. Aperture setting
3. Lens focal Length

Relationship of focal length to “Normal” lens

definitions to coverage required by increasing
negative sizes even though Depth of Field
characteristics do not appreciably change for a
given focal length regardless of covering
power.

Illustrate the Depth of Field “Plane.” Note

differences with “flat field” lenses.

Illustrate how the Depth of Field plane can be

re-aligned by changing the angle of the optical

© N. David King 2000

Large Format Camera Movements and Operations Page 7

plane relative to the subject image plane and

film plane (Scheimpflug Effect). The rule is: If
the image plane, the film plane, and the optical
plane all intersect at a point, then the depth of
field plane will be aligned with the image
plane.

Show examples. (See Handout illustration)

Distortion Control Optical Distortion is a term used to cover some

very normal optical effects resulting from
converting a three dimensional reality into a
two dimensional image.

They are generally the results of rendering

perspective effects but sometimes, even though
the effect is “normal” it create a detrimental
result on the image. This is most noticed in
two major areas of photography:

? Architectural Photography
? Small Product and Table Top
Photography

In all cases, the “distortion” seen on the final

image results because the film plane (the rear
standard on the camera) is not aligned with the
subject/image plane. If the image plane and
the film plane are parallel, then there will be no
distortion.

(See illustration in Handout.)

Creative Distortion It is important to note that the same camera

movements that can “correct” the effect
(meaning to make it look better to the viewer
on a two-dimensional print) can also be used,
in reverse, to exaggerate the effect for creative
purposes.

© N. David King 2000

Large Format Camera Movements and Operations Page 8

VIEW/F IELD CAMERA MOVEMENTS 7 EFFECTS

Indemonstration
order to help students follow along with the lecture and
as well as to provide a reference guide for their early
field work, the following illustrations are provided to show the various
movements and their basic results.

Camera Parts Below is a side view of a typical view camera

with the major parts labeled.

Movements The next illustrations show the basic

movements available on the camera.

The illustrations all show the movement on the

front standard but are also available on the
rear standard of the camera.

(All illustrations are by N. David king)

© N. David King 2000

Large Format Camera Movements and Operations Page 9

2
1
Figures 1 and 2 show the camera
from the side, figures 3 and 4
show it from the top.
3
Figures 1 and 4 are movements
on and around the vertical axis
while figures 2 and 3 are on and
around the horizontal axis.

These movements can all be used

in combination around all axes
and using both front and rear
movements to align the camera
4 planes an virtually any fashion
desired.

The next illustrations will show

how to use these core movements
to control basic Depth of Field
and Image Distortion. Both
illustrations are based on
controlling the horizontal plane
but can as easily be used for the
vertical plan or for tilted planes.

© N. David King 2000

Large Format Camera Movements and Operations Page 10

The Illustration on this page shows the effect of using the camera’s
optical plane movements to gain the illusion of greater depth of field.

Note that all planes intersect at a point (P). In fact, the depth of the
plane encompassing the Depth of Field has not been increased at all, it
has merely been tilted so that it coincides with the intended subject
matter.

© N. David King 2000

 Large Format Camera Movements and Operations Page 11

This page’s illustrations show how the movements of the rear film plane
are used to control image distortion, in this case, the keystoning effect
of looking at an object (like a building) that is large enough for
perspective to make the part farther away look smaller.

With the Film Plane at an

angle to the object, those
parts of the object farther
away look smaller. However
it is often desirable to avoid
this forced perspective.

By aligning the film plane with

the object, the perspective lines
are straightened. The view
Camera’s great covering power
Note that the front element has been tilted and the combined movements
(relative to the standard) to also be parallel to the gained through using the rail
object. This brings it in focus. Why? Remember and the front standard allow a
geometry? All parallel lines meet at infinity . large amount of movement.

© N. David King 2000

Large Format Camera Movements and Operations Page 12

Class Examination

Examinations are used to determine the student’s comprehension of

the material. It tells how given students are faring but also can tell
whether or not the instructor was able to translate the material properly
for a given collection of students and if there are areas that need to be
revisited, perhaps from a different point of view. This is a small,
targeted quiz designed to let me know how well the student’s
understood and retained this specific information. The subjects would
come from the lecture/demonstration, handouts, and referenced reading.

Exam Questions 1. List the movements that can be made with front and rear
standards on a view camera
_________ ________ _______ ______

2. In general, front/optical plane movements are used to

control _______________________

3. In general rear/film plane movements are used to control

__________________.

4. The Scheimpflug Effect holds that when the _________

plane, the __________plane and the _________plane all
_____________, then the Depth of field plane will coincide
with the ____________ plane.

5. Optical plane movements are generally done with the

__________ standard.

6. Large format cameras come in three styles, what are they?

1.____________ 2.____________ 3.____________

7. A “monorail” camera is actually a type

of _________ camera.

8. The “Normal” lens on a large format camera has _____

depth of field than the “Normal” lense on a 35mm camera.

9. To avoid distortion of the image, the image plane and the

________ plane should be parallel.

10. The focal length of the “normal” lens for a 2 ¼ camera will
be _____________ than the normal lens for an 8 x 10
camera.

© N. David King 2000

Large Format Camera Movements and Operations Page 13

Class Assignment

Large Format Cameras such a field and view cameras are not
difficult to use but they are often intimidating to the first time
users. The quickest way to get over that intimidation is to go out and
use them for simple assignment, then start increasing the complexity of
the assignment. Below is an example of an early assignment, this one to
practice using the camera movements to control Depth of Field.

Introduction This assignment will begin your familiarity

with using large format cameras. It will start
by only requiring you to use the front
movements to control your depth of field.

Objective The objective of the assignment is to help you

understand the optical and plane geometry
aspects of using the Scheimpflug Effect to
increase the illusion of greater depth of field. It
will also start your practice in setting up and
operating a large format camera in the field.
And it will limit bracketing forcing you to rely
on sound metering techniques.

Turn In You will turn in the following:

1. Two 8 x 10 prints. The shot
demonstrating the use of the camera
movements is to be mounted on 11x14
mat board, the other can be unmounted.
2. The negatives and contact sheets for all
negatives taken for the assignment. You
must shoot at least 8 sheets of film from
in no less than three camera positions.
3. This assignment sheet.
4. In an 11x14 manila envelope labeled as
per your instruction sheets and course
synopsis.

Materials In addition to your camera, tripod, light meter,

and dark cloth, you will need at least 8 sheets
of film and 4 film holders.

© N. David King 2000

Large Format Camera Movements and Operations Page 14

Subject An Architectural Shot. You may choose the

location but it must be a large commercial style
building, not a house. Assume it is an
assignment for the architect who designed the
structure for use in his/her portfolio to attract
new clients.

You are to shoot it at an angle to a long axis so

that you must use camera movements to
achieve the depth of field you desire.

Be prepared to discuss how you set up the

camera’s movements, and why, in your shot.

Procedure PLAN YOUR SHOT. I’d suggest scouting the

location to find the best time of day, lighting,
angle, problems with the environment (traffic,
etc.). Many pros will scout with Polaroids? ,
35mm slides, or now digital cameras to help
plan the shots and work out problems before
tackling it with the large camera.

Look for unique aspects to the building, things

that might be the architect’s or builder’s
“signature” or that make this building really
stand out. Think of it as doing a portrait of the
building.

Once set up, shoot two versions of the final

shot. Do one where the camera movements
were zeroed (for the unmounted print) and one
where you have used the front element to cause
the Depth of Field plane to be angled for
maximum effect (to be mounted).

With eight sheets of film, you can take up to

four different views. Take advantage of good
lighting, creative filtration, and any Zone
System techniques that will help with the
image.

© N. David King 2000

Large Format Camera Movements and Operations Page 15

Grading This is an advanced class, and even though it is

a technical assignment you will also be graded
on the aesthetic quality of your shot, i.e. how
well to you really show off the architectural
beauty or uniqueness of the chosen building.
This type of shot frequently has very strong
lines of composition. Use them to your
advantage. Filters play a large part in
architectural photography both to deal with
the sky but also to bring out architectural
elements. Use them to enhance your “story”
about this building.

Additionally, you will be graded, as per the

specifics in the course synopsis, on the quality
of your negative, your printing skills, and the
final presentation.

From here on out, you should be thinking of

every shot as a potential portfolio shot.

Student’s Shot Log (Turn in with Assignment)

Shot Location Time Exposure Filtration Develop
1
2
3
4
5
6
7
8
9
10

© N. David King 2000