Table of Contents
Advertisement
6.Problem: You want to photograph the whole
length of a wall at an angle. All details on the wall
must be rendered sharply. You cannot use a smaller
aperture for exposure reasons which in turn creates
insufficient depth-of-field.
Solution: Set up the ArcBody at 90˚.With shift set
at the zero position, tilt the top of the rear standard
away from the camera body and re-compose the
image on the focusing screen. Adjust the focus
again if necessary. There will be a noticeable in-
crease in depth-of-field without resorting to a
smaller aperture.
Again, the three situations above are essentially iden-
tical. The second problem is really the first problem
but 'inverted' 180˚, and the third problem at a differ-
ence of 90˚.
Creative examples of shift and tilt
The photographic situations just mentioned are normally
considered as faults that have to be corrected. However the
very same visual changes can also be classified as creative
additions and can be used to positive effect.
7.Problem: You want to photograph the front of a
building to produce a dramatic effect. You cannot
position the camera closer to the building. When
pointed upwards, convergence is not as strong as
hoped.
Solution: Set up the ArcBody in the inverted 180˚
position. Shift the rear standard upwards. This
59–62
places the foot of the building and some of the fore-
ground onto the focusing screen. Point the camera
upwards to regain the original image placement.
The parallels in the image will now show a more
pronounced converging effect.
8.Problem: You want to take a portrait against a
specific background. This background however is
being rendered too sharply and detracts from the
main subject, even at maximum aperture.
Solution: Set up the ArcBody as normal. While
keeping the lens plane parallel with the main sub-
ject, tilt the rear standard (in either direction) and
the depth-of-field will be reduced.
9.Problem: You want a photograph of a package
where only the name will show. The name is at a
diagonal to the camera position. To render the
name sharply, you have to stop down the lens but
this creates distracting sharp zones in front and be-
hind the name.
Solution: Set up the ArcBody at 90˚. Compose the
picture with name centred. Tilt the rear standard
(to be parallel to the name). The zone of sharp fo-
63–68
cus, using a large aperture, will now be at an angle
to the camera position and cover the name but not
the rest of the package.
A combination of shift and tilt can also cause sig-
nificant changes in image shape and appearance,
either as corrective measures or as creative expres-
69–72
73–76
43
Advertisement
Table of Contents
