كل التفاصيل حول كاميرا المنظر الواحد ( View Camera ) .. مجلة فن التصوير اللبنانية_ع٥٨

**Ali Abbass** · 06-20-2023, 01:29 AM

All the details about the single view camera

To get a single-view camera, we will not need much larger sums than what we previously needed when buying any other regular camera, especially since there are many fallacies that have been spread about this camera, which we will work to refute in the context of our favorite topic about the (View Camera).

It must be admitted that for a long time people have admired the extremely sharp relief prints seen in galleries, those prints with infinite depth of field, and silky smooth gradations that range from detailed, brilliant whites to deep, skinny blacks.
Through the eye to capture that appearance, many tried to work with every available film, as they tried every available chemical compound, but without any result, and the reason is always that they need a single view camera (View Camera).

Big Structure Myths:
Now, we're back to addressing the situation in a calm, common-sense way, by first eliminating some of the misconceptions about 4×5 photography.
The first of the misconceptions is that the average photographer can't afford a 4 x 5 inch camera. We say here that the price of photographic equipment is not determined based on its standards. The cost of most single-view cameras is the same as the cost of a medium-sized camera or less. In fact, if we were enthusiastic 35mm shooters, chances are that what we spent on our cameras and lenses exceeded what we spent on 4×5 equipment.
The second misconceptions: The 4 x 5 equipment will be huge and heavy to the extent that in order to move around with it, we will need a permanent assistant to carry the equipment.

The truth is, if we try to carry around with too much gear or the wrong camera, we will end up with a bag full of heavy gear. But if we use some pre-thinking and choose our equipment wisely, the possibility is that the 4 x 5 device will not be heavier and larger than the 35 mm device. There are some 35 mm devices with lenses, motors, flashes, filters, and so on. We can add a lot to an already heavy equipment. . As for the large structure, our choices are much lighter, as there are no multiple bodies or engines, but just one or two lenses and a few filters and parts.
It is worth noting that the design of the single view camera is the decisive factor that will determine how big the 4 x 5 device should be.

The third misconception, and perhaps the most frightening: single view camera movements are of the kind that only a select few can master. We have seen single view cameras photographed as photographic tumblers and their bodies are sturdy to display many of the movements of these cameras. Thus, you will be deceived to the point of thinking that we will never be able to carry out such movements, and who can properly use this camera. The truth, on the other hand, is that most of the beautiful photos can be made by making very simple adjustments to the camera or without modifications at all.

Fourth misconceptions: What we spend is very much more than what we spend on the 4 x 5 film on the 35 mm film. It is true here that the slide film is much more expensive than the 35 mm film, but the consumption in the field of capture will be much less. Of the factors, including the longer time that we need to set up and use the single view camera. Because here we do not grab the 4 x 5 and we are on the car seat to pick up in bulk. We are studying the matter
We mount the camera on a tripod, focus initially with any inherent movements, then focus precisely and calibrate with exposure and depth of field selection, and finally we get in with the film to make the exposure. Rather, its kind.

Why use a single view camera:
The first thing we will notice with a single view camera is the experience of looking at the subject through its grainy glass. Looking through a 4 x 5 camera is very different from looking through the lens in a 35mm SLR camera. Secondly, the image is upside down - inverted and the sides are actually reversed - this is the usual combination of the image passed by a camera lens without the correction practiced by the SLR camera with its mirror and its prismatic lens. This is the image that we see on the grained glass. However, we will soon overcome this confusion and bewilderment.

Also, the work takes place under an insulating focus cloth - the obstructing voices and people disappear as it seems with the scenes of the subject on the wide grained glass in front of us. Finished photograph.

Since you are viewing an image so large, you can see details that you could easily miss in a smaller viewfinder, and the inverted image facilitates an objective study of the content. Watching a photograph take shape is a very interesting experience.

Image quality:
The image quality is another advantage of using a 4 x 5 camera. A 4" x 5" negative is approximately 15 times that of a 35 mm negative - and even 18 times as much, if we take into account that the space is already usable in a 35 mm negative cut out for an 8" x 10" print - let's just think that we will enlarge his negative 4 A print of 32 x 40 inches is huge, so that its rasterization enlargement is equal to that of an 8 x 10 print from its 35 mm negative with the sensitive layer. Then we add the large 4 x 5 negative to the corrective movements in the single-view camera, so we have the possibility of obtaining an image of a quality that is not available from smaller structures.

This, and the slide film gives way to choosing the individual acidification of our negativity, in pursuit of
Achieving the best photographic quality, and the adoption of the orbital system (Zone System), invented by Ansel Adams and Fred Archer in the thirties, confirms the advantages of working with individual exposures on slide film with individual adjustment for acidification. Language, none of them proved as successful as the success that is achieved when we can develop the field of accurate light contrast in each shot.

Image handling:
The one-view camera includes a front plate that holds the lens and a back plate that holds the film. At the beginning, these two plates are parallel to each other, and the lens is directly facing the middle of the film. Then the photographer adjusts the two plates according to the requirements of the scene, and since any deviation from the position of zero (null) It will affect the image, which calls us to get used to permanently getting rid of any camera shake after we make our exposures.
The one-view camera adjustments can be divided into two groups: parallel adjustments, then rotations and transitions - and with these movements that the camera undergoes, we will be able to control our subject through three methods: the shape of the subject or the dimensions. Also - and the subject's signature on the film.

Parallel adjustments:
The normal form of a single view camera is to have the lens plate parallel to the film plate and facing up
For the middle of this movie, and now, if we leave the two panels facing each other and slide one of them up, down, right or left, we will have practiced a parallel adjustment. The horizontal adjustment to the right or left is called shift, and the vertical adjustment to the top or bottom is called lift or drop, respectively.

In addition to the signature of the image, these parallel adjustments can be used to avoid perpendiculars resulting from pointing the camera upwards towards a subject. Instead of pointing the camera upwards, we keep this camera level and look upwards by raising the lens against the film, either by raising the front plate or dropping the back plate. The other is to work effectively on picking up around obstacles. If we cannot sign the camera towards the subject directly, we can adopt a transformation to re-sign the subject in the middle.

Rotations and tilts:
If we turn away from the normal, parallel position of the two camera panels, something miraculous happens. We can actually expand the plane of the sharpness of the protrusion without depending on the depth of field of the lens. Add to this the ability to adjust the shape or dimensions of the subject, to extend or shorten or make what is visually normal, and then we have a tool It's hard to believe it's possible to make a photograph.
As for the movements that contribute to these games, they are rotations (Swings) and (Filts). Moving around the vertical axis of the camera is rotating, and around the horizontal axis is tilting.

**Ali Abbass** · 06-20-2023, 01:32 AM

In contrast to the horizontal adjustments that can be made either on the front panel or the back panel to achieve the same result, we find that rotating or tilting the front panel will produce an effect different from the effect resulting from rotating or tilting the back panel. If the movement in question occurs at the front, we can adjust the sharpness of the protrusion of the subject, and if we practice the same movement in the back, we can adjust the sharpness of the protrusion in the same way. In addition, we will adjust the shape of the subject by adjusting the relationship between the plane of the film and the plane of the subject.

skypeflag effect:
If we look at the lens plate and the film plate as two surfaces, we see that these two surfaces are parallel in their normal relationship, then as soon as we rotate or tilt one of these two camera plates, the two surfaces lose their parallelism and will converge at some point. If the plane of the lens, the plane of the film, and the plane of the subject all meet at a common point, the plane of the subject will be sharp in prominence from its front to its back without depending on the depth of field. This relationship is known as the skypflag effect.
In order to apply this principle with a single-view camera, a suitable subject plane must first be selected, out of the infinite number of planes that permeate a typical subject. The best plane would be the one that extends diagonally across the subject from near to far, and let us be confident that there are a number of suitable planes.
In order to determine the exact correct angle in focus followed by adjusting the interface panel, we have to imagine the subject and focus on the distant point that we want to be sharp in prominence, which is something in the background of the subject in general - after that we tilt the lens forward until the foreground becomes this sharp protrusion, and the background may need something From precise adjustment of the tilt angle to the lens, that's all there is to it! Focus on the far and tend to the near.

After making a suitable angle for the lens. The plane of your subject will have a typical protruding sharpness from front to back - or from end to end in the case of a two-column, rotating plane - and since we rarely photograph subjects that are flat planes only, we now have to turn our attention to the depth of field needed to adjust the sharpness of the protrusion in The remainder of our topic as a whole.

Depth of field:
The area of sharpness in front of and behind the focus point is your depth of field. In order to maximize the use of the depth of field of our lens, we focus on approximately the front third of our image, because the law says that the depth of field extends by one third in front of the focal point and two thirds behind it.
Then when we rotate or tilt the camera to adjust the sharpness of the highlight over the surface of a subject, the depth of field extends from the chosen surface of the subject.
So, in order to achieve the best overall prominence sharpness, we persevere in taking this relationship into account when choosing the subject surface.
Referred to on our lens and narrow after we have finished adjusting the sharpness of the protrusion over the flat range that we have chosen for our subject by rotating or folding, we look at the image of our grained glass and narrow the lens slowly until we see that the whole image has become a sharp prominence typical. After that, we specify the opening and another full pause for the reassurance. Now, back to working from the aperture while setting our exposure. We've located our desired aperture, so now we have to choose the shutter speed that will produce an appropriate exposure.
As we can see, working with a single view camera takes place in a series of steps. Each step of it accomplishes one part of our overall overall result. The truth is, with a little practice, these workflows will go quickly and easily.

Camera :
Now that we're ready to delve into the field of large-scale interstitial photography, let's consider the equipment we'll need and the choices we'll have to make.
It is clear that we will need a single view camera. Our best bet would probably be one in a 4-by-5-inch frame, though there are smaller and larger builds, and when it comes to single-view cameras, there are basically two different designs to choose from: the monorai and the flatbed. Let our choice be based on what we want the camera to do and where we want to work, because it is of the same importance.
The monorail camera is the most versatile design, and it is the design adopted by many different manufacturers, as it provides the most comprehensive camera movements due to the relative independence of its two plates on the mounting rail. Na the designated With additional connecting rails and bellows, the monorail camera is capable of accomplishing almost any task.

If we want to spend most of our time working in the studio making close-up shots, our best bet is a good monorail camera. A monorail camera is heavier and bulkier than our second choice, a flat bed camera - because these cameras fold into a small package for easy transport. In fact, flat bed cameras are often referred to as field cameras. The weight of this typical outdoor action camera may be simple, to the extent of 1/2 pound without a lens, while the usual weight with the lens ranges between 1/2 3 and 1/2 5 pound face.
As a general guideline, the flat bed design is for landscape and general photographic work with the possible exceptions for construction work and small studio shots. The monorail design is perhaps the best choice when it comes to these latter circumstances.

Lens selection:
As is the case with any lens, there are some things that we should take into consideration while we are in the process of looking for a lens to buy for the single view camera. Naturally, we want the lens to be accurate, have good color correction and minimal glare, but when we are looking for a lens for the 4 x 5 camera, we also have to make sure that it has an image circle that matches our needs, as we see, with the 35mm and yellow cameras. The lens is installed in the middle of the structure and is immovable - among the exceptions here we find the deflection interface in the Rolly (66 - SL) - while with the single view camera the lens can move around the structure with the movements of the camera. For this reason, single view camera lenses have an additional advantage to consider; It is the coverage angle and thus the image circle in the lens.

For most single view camera lenses, the angle of coverage is calculated with the lens centered at infinity, which means about 70 degrees on the whole.
If we imagine the image emitted by the lens as a beam of light in the form of a funnel, then the cross section of this funnel is on the surface of the film, which is the image circle of the lens. The bigger the better, and we can enlarge the image circle in a number of ways: relying on focusing the lens from a closer place, and thus moving the lens further from the flat film, or using a lens with a longer focal length - adopting the same angle of coverage, which is the usual case - or obtaining A lens with a larger angle of coverage - which is usually an expensive proposition.
As the focal length increases, the circle of photographers increases to choose a 210 mm lens as their standard lens for their 4 x 5 camera. This focal length is in fact the image most photographers tend to be longer than the . normal. The real lens, where the 60 mm lens is equivalent to 35 mm photography, although this slightly longer lens provides the photographer with an increase in coverage.
But if we need a wide-angle lens, then perhaps the best bet is the 90mm lens for the 4×5 camera. This is approximately equal to the 38 mm lens for the 35 mm camera - see the lens test table for the equivalent of other focal lengths - we note here that the angle of coverage with wide-angle lenses is about 100 degrees, but despite this, the possibility of moving with these lenses is much reduced.
We must always remember that relationship between the focal length of the lens and the length of the bellows required for the camera. The 210 mm lens focused on infinity will be at a distance of 210 mm from the flat film (the grained glass). To focus from the close-up distance, we will have moved the lens towards a distance farther from the flat film. As for the realistic scale image on a 1: 1 magnification film, it will be the 210 mm lens. Twice the length of the film - a distance of 16 - inches. If we want to use this lens for close-up shots in this field. We will need a camera with at least 164 inch blowers. This means excluding most field cameras at the event site.
With bellows that extend to 12 or 13 inches as a maximum.
This same caveat also applies if we want to use long focal length lenses for faces. The 300mm lens in the 4 x 5 will be equal to the 85mm lens in the 35mm camera in terms of image scale. This lens will need 300mm bellows to focus on infinity. Wali more destinations. From here, the extension of the blowers to at least 20 inches becomes what is needed.
In short, we have to analyze our requirements and choose the best camera and lens case to implement what you want.

Extra equipment:
In addition to our camera and our lens. We will need some accessories to complete our device.
We need slide film holders to fix the film. Each of these holders has two sides and accommodates two film slides. And we will need no less than six carriers, and remember that we will not capture as much as we used to capture with the 35 mm camera, which means that the six carriers are 12 exposures. Light - It will usually make for a good day of shooting.
This, and to help focus on the granulated glass, we are thinking of buying a focus zoom lens and a focus cloth to wrap it on the back of the camera, which means that the outside light reaches the granulated glass.
We also have to use the pickup wire and the tripod stand that we use with the 35 mm camera, provided that the stand is good, sturdy and heavy in weight⏹

كل التفاصيل حول كاميرا المنظر الواحد ( View Camera ) .. مجلة فن التصوير اللبنانية_ع٥٨

كل التفاصيل حول كاميرا المنظر الواحد ( View Camera ) .. مجلة فن التصوير اللبنانية_ع٥٨

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