Using the View Camera
since: 2018/03/04
update: 2018/05/17
reference:
1. Using the View Camera: A Creative Guide to Large Format Photography
2. Bellows extension exposure compensation
3. Exposure compensation for Bellows Extension
4. An introduction to 4×5 large format photography Part: 1
5. An introduction to 4×5 large format photography Part: 2
6. An introduction to 4×5 large format photography Part: 3
7. Focusing the view camera ---- by H.M.Merklinger
8. Ansel Adams: The Camera
1:1 reproduction ratio (重現比率)
The bellows had to be extended to twice the length required for an
infinity-focus position.
波紋管必須擴展到無限遠焦點位置所需長度的兩倍。
備註: 亦即從鏡頭光學中心到底片平面的距離是鏡頭焦長的二倍。
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Doubling the infinity-focus length of the bellows meant a two-stop decrease
at every f-stop in the amount of light striking the film plane.
將波紋管的無限遠焦點長度加倍, 意味著每個光圈在撞擊膠片平面的光量上都會有兩次減少。
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The point of infinity is generally considered to be a distance 200 times
the focal length of the lens out into the scene.
無窮遠點通常被認為是距鏡頭焦距200倍的距離。
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The best rule of thumb is to use the swings and tilts on the film plane to alter perspective
, and the swings and tilts on the lensboard for focus control.
最好的經驗法則是使用(後置)膠片平面上的擺動和傾斜來改變透視,
而使用(前置)鏡頭版上的擺動和傾斜以進行焦點控制。
This is basically correct because swings and tilts on the back of the camera have the greatest effect on projection distances.
這基本上是正確的，因為相機背面的擺動和傾斜對投影距離影響最大。
However, minor changes in perspective when the front swings and tilts are used,
but they are minimal and only apparent in careful side-by-side comparisons of
finished photographs.
然而，當使用前擺和傾斜時，透視會發生微小的變化，但它們很小，
只有在仔細並排比較完成的照片時才是明顯的。
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Scheimpflug Rule(沙姆定律)
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相機操作
1. 頁式底片(sheet film)
a. 底片夾: 未曝光 - 銀邊朝外 ; 已曝光 - 黑邊朝外
b. 貼上標籤與作紀錄:
=> to mark what film is loaded in and place to scribble down the needed info.
Usually a date, lens, lens extension, f stop, shutter speed, filters used,
ISO rating for push/pull and the content of the picture. For example :
2014/03/05 135/160 5.6/60 red Jane, woods, tight portrait
2. 決定場地(place)
3. 決定鏡頭(lens)
4. 水平與歸零(leveling & neutral)
5. shift, rise, fall(調整成像圈)
6. tilting and/or swing the back (調整透視)
7. tile and swing on the front (調整對焦)
8. 測光(暗部與亮部的差距)
9. bellows extension 曝光補賞通則 (風景, 建築, 工作室, 人像)
大於無窮遠處(蛇腹長度等於鏡頭焦長)的進光量與距離平方成反比; 反之亦是
a. 增加 25% 長度, 需增加 0.5 stop 曝光量
b. 增加 50% 長度, 需增加 1 stop 曝光量
c. 增加 100% 長度, 需增加 2 stop 曝光量
d. 增加 200% 長度, 需增加 3 stop 曝光量
大型相機的使用者需要理解為何要補償的基本光學原理。
亮度與距離的平方成反比，一倍的距離亮度僅剩1/4，所以需補償兩格，大型相機無限遠焦長剛好不需補償，一旦拉長蛇腹就需補償，補償的算法是蛇腹長減去無限遠蛇腹長，再除以無限遠蛇腹長的一半。
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練習記錄:
1. 調整前置上升, 取得高於頭部的景物.
2. 調整後置擺動以與被攝物平行, 讓景物的平行線不相交.
3. 調整前置傾斜, 讓被攝物的近景, 中景與遠景皆在景深內(適度配合縮小光圈).
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The Film Photographer's Large Format Log Book: A Basic Checklist
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更改顯影時間
1. 當拍攝後的底片亮度對比較小時, 利用增加顯影時間來提高對比;
因為會稍微影響到暗部(增加濃度), 所以拍攝時需要減少 1/3 ~ 1/2 stop 以作為補償.
2. 當拍攝後的底片亮度對比較大時, 利用減少顯影時間來降低對比;
因為會稍微影響到暗部(減少濃度), 所以拍攝時需要增加 1/3 ~ 1/2 stop 以作為補償.
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ANALOGBOOK Large Format Notebook
---------------------------------------------------------------------------
update: 2018/05/17
reference:
1. Using the View Camera: A Creative Guide to Large Format Photography
2. Bellows extension exposure compensation
3. Exposure compensation for Bellows Extension
4. An introduction to 4×5 large format photography Part: 1
5. An introduction to 4×5 large format photography Part: 2
6. An introduction to 4×5 large format photography Part: 3
7. Focusing the view camera ---- by H.M.Merklinger
8. Ansel Adams: The Camera
9. Ansel Adams: The Negative
10. The Film Photographer's Large Format Log Book
11. ANALOGBOOK Large Format Notebook
---------------------------------------------------------------------------10. The Film Photographer's Large Format Log Book
11. ANALOGBOOK Large Format Notebook
1:1 reproduction ratio (重現比率)
The bellows had to be extended to twice the length required for an
infinity-focus position.
波紋管必須擴展到無限遠焦點位置所需長度的兩倍。
備註: 亦即從鏡頭光學中心到底片平面的距離是鏡頭焦長的二倍。
---------------------------------------------------------------------------
Doubling the infinity-focus length of the bellows meant a two-stop decrease
at every f-stop in the amount of light striking the film plane.
將波紋管的無限遠焦點長度加倍, 意味著每個光圈在撞擊膠片平面的光量上都會有兩次減少。
---------------------------------------------------------------------------
The point of infinity is generally considered to be a distance 200 times
the focal length of the lens out into the scene.
無窮遠點通常被認為是距鏡頭焦距200倍的距離。
---------------------------------------------------------------------------
The best rule of thumb is to use the swings and tilts on the film plane to alter perspective
, and the swings and tilts on the lensboard for focus control.
最好的經驗法則是使用(後置)膠片平面上的擺動和傾斜來改變透視,
而使用(前置)鏡頭版上的擺動和傾斜以進行焦點控制。
This is basically correct because swings and tilts on the back of the camera have the greatest effect on projection distances.
這基本上是正確的，因為相機背面的擺動和傾斜對投影距離影響最大。
However, minor changes in perspective when the front swings and tilts are used,
but they are minimal and only apparent in careful side-by-side comparisons of
finished photographs.
然而，當使用前擺和傾斜時，透視會發生微小的變化，但它們很小，
只有在仔細並排比較完成的照片時才是明顯的。
---------------------------------------------------------------------------
Scheimpflug Rule(沙姆定律)
---------------------------------------------------------------------------
---------------------------------------------------------------------------
說明: 長曝會降低暗部的濃度(曝光不足), 因此需要延長曝光時間以增加對比,
而需要減少顯影時間以避免亮部過多的對比.
---------------------------------------------------------------------------而需要減少顯影時間以避免亮部過多的對比.
相機操作
1. 頁式底片(sheet film)
a. 底片夾: 未曝光 - 銀邊朝外 ; 已曝光 - 黑邊朝外
b. 貼上標籤與作紀錄:
=> to mark what film is loaded in and place to scribble down the needed info.
Usually a date, lens, lens extension, f stop, shutter speed, filters used,
ISO rating for push/pull and the content of the picture. For example :
2014/03/05 135/160 5.6/60 red Jane, woods, tight portrait
2. 決定場地(place)
3. 決定鏡頭(lens)
4. 水平與歸零(leveling & neutral)
5. shift, rise, fall(調整成像圈)
6. tilting and/or swing the back (調整透視)
7. tile and swing on the front (調整對焦)
8. 測光(暗部與亮部的差距)
9. bellows extension 曝光補賞通則 (風景, 建築, 工作室, 人像)
大於無窮遠處(蛇腹長度等於鏡頭焦長)的進光量與距離平方成反比; 反之亦是
a. 增加 25% 長度, 需增加 0.5 stop 曝光量
b. 增加 50% 長度, 需增加 1 stop 曝光量
c. 增加 100% 長度, 需增加 2 stop 曝光量
d. 增加 200% 長度, 需增加 3 stop 曝光量
大型相機的使用者需要理解為何要補償的基本光學原理。
亮度與距離的平方成反比，一倍的距離亮度僅剩1/4，所以需補償兩格，大型相機無限遠焦長剛好不需補償，一旦拉長蛇腹就需補償，補償的算法是蛇腹長減去無限遠蛇腹長，再除以無限遠蛇腹長的一半。
練習記錄:
1. 調整前置上升, 取得高於頭部的景物.
2. 調整後置擺動以與被攝物平行, 讓景物的平行線不相交.
3. 調整前置傾斜, 讓被攝物的近景, 中景與遠景皆在景深內(適度配合縮小光圈).
The Film Photographer's Large Format Log Book: A Basic Checklist
更改顯影時間
1. 當拍攝後的底片亮度對比較小時, 利用增加顯影時間來提高對比;
因為會稍微影響到暗部(增加濃度), 所以拍攝時需要減少 1/3 ~ 1/2 stop 以作為補償.
2. 當拍攝後的底片亮度對比較大時, 利用減少顯影時間來降低對比;
因為會稍微影響到暗部(減少濃度), 所以拍攝時需要增加 1/3 ~ 1/2 stop 以作為補償.
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ANALOGBOOK Large Format Notebook
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