Camera Movements In Practice - Hasselblad ArcBody Instruction Manual

Do not forget to replace the slide be-
fore you remove the magazine.
Advance the film after exposure (un-
less you are making a multiple
exposure).
Failure to observe any of these points will result
in lost exposures!
Camera Movements Camera Movements
in Practice in Practice
Shift and tilt, familiar terms to technical camera users, quick-
ly become second nature to Hasselblad ArcBody photogra-
phers too. A few minutes thought over the examples shown
here will help to explain the ideas behind the method.
Shift simply moves the film plane through the
plane of a projected image and places it where most
suited for that particular image. As an exaggerated
demonstration, imagine the camera image as a
projected image on a wall in a darkened room fig.
29. Move a square of paper – the film – over the
wall until you have the desired framing and that, in
essence, is shift. So, while the lens and image plane
remain parallel to a building, for example, you can
place the film over the area that is showing the top
of a building without resorting to pointing the
camera upwards, which would cause convergence
of verticals in the image. This extremely useful cor-
40
rective effect is facilitated by the unusually large
circle of coverage created by the Rodenstock lenses.
Tilt is a camera movement that has most effect on
the sharpness of the image caused by controlling
the depth-of-field. The original principle, deter-
mined by Scheimpflug, is demonstrated in fig.30.
In this example, the maximum effective depth-of
-field is achieved when all three planes meet at one
point. Depth-of-field – the zone of an image that is
acceptably sharp – is controlled by the aperture set-
ting. The angle of the plane of this zone, however,
can be altered to achieve greater sharpness in the
image, and that is in effect what tilt produces.
Unsharpness of the near and far limits of an image
at a specific aperture/focus setting is caused by in-
sufficient distances between these limits and their
respective positions on the film plane, fig 31.The
solution to the problem is to alter these distances.
In fig. 33 you can see that by tilting the back of the
camera, the distance from the top of the film plane
to the near limit has now increased. (Remember
the image is inverted!) Likewise, the distance of the
lower part of the film plane to the far limit has now
decreased. Both distances now fall within the zone
of acceptable sharpness and the result is an appar-
ent increase in depth-of-field fig.34.
In practice, care must be taken. When the back of
the camera is moved in this manner, the plane of
sharp focus is angled away from vertical objects.
Fig. 35 illustrates this effect. While objects in the
image that lie close to the camera are now sharper,