American Cinematographer - July 1991 - 10
Now, a giant step backwards
from Clairmont: the
motion-picture camera with a
view-camera front
Swings, tilts and shifts with
a
bellows: the
traditional view-camera controls
for
image shape and position, big closeups,
focus distribution, depth of field.
Flexible rubber bellows
For tilts,
lensboard
rotates
vertically.
Angle is
For rises
and falls,
lensboard
slides up
and down
vertical
shafts.
This is
the lock.
controlled
by this
/
guide.
mountain range is on the horizon,
about a mile away. In front of it,
the ground is strewn with boulders,
the nearest one three or four
feet away. By tilting his lens down,
Adams changed the plane of
sharp focus from vertical to more
nearly parallel with the field of
boulders. Everything is in focus.
No need to
For
swings,
center
rotates left
and right,
locked by
this clamp.
For focus,
stop way down
Shooting from one side at a 45°
angle,
you compose a two-shot of
car's driver (near you) and
the front-seat passenger (further
a
away). By swinging your lens
right (to the left in Britain),
you can easily hold focus on
both people because the plane
of sharpness then runs along the
to the
center of
unit moves
back and
forward. This
knob locks it.
front of both faces.
The Swing/Shift is a
PL mount system
For shifts,
center slides
Iris rod
left and right.
This knob locks it.
clamp knob
Thebellows,
view camera
employed
swings,has
tilts,
rises,
head-on into mirrors and not
falls and shifts for about
yourself. Or
and
a
hundred
thirty years.
Shoot head-on
into mirrors
Now
BLs and
Type 3s can use
them, too. You can make an egg
spherical and make a billiard ball
our
egg-shaped. You
can
designed and built by
Clairmont for our
BL and 35-3 cameras.
shoot directly
remove a
see
foreground
telephone pole without changing
your angle of view.
Almost infinite
depth of field
In Ansel Adams' famous still
photo¬
graph of Mount Williamson, the
Controlling
focus and
shape
Tilting/swinging the
lens plane alters the focus;
The rule is:
tilting/swinging the film plane
alters the
shape. With the car twoshot, you swing the lens but you
don't
move
the
camera
body (film
American Cinematographer - July 1991
Table of Contents for the Digital Edition of American Cinematographer - July 1991
American Cinematographer - July 1991 - 1
American Cinematographer - July 1991 - 2
American Cinematographer - July 1991 - 3
American Cinematographer - July 1991 - 4
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