Re: [photo-3d] LEEP camera / architectural 3d

["Don Lopp" <dlopp@xxxxxxxxxxxxxxx>]

Considering the complications involved, what what would the advantage be in
using swings and tilts on stereo pictures be. And I believe that most
interiors are shot with wide angle lenses which are a bit tough to swing and
tilt for most people except for the very skilled. I shoot interiors with my
MF camera and have never seen the need for swings etc. DON
----- Original Message -----
From: "Brian Reynolds" <reynolds@xxxxxxxxx>
To: <photo-3d@xxxxxxxxxxx>
Sent: Sunday, December 10, 2000 8:28 PM
Subject: Re: [photo-3d] LEEP camera / architectural 3d


> Boris wrote:
> > Otherwise I am thinking of just plain old medium format
> > transparencies for this project - shift/tilt capability would be
> > useful, I think.  Has anyone shot with shift/tilt in stereo and what
> > pitfalls await me there?  Does 3d viewing make shift/tilted images
> > look even more strange than they already do flat?
> >
>
> >From the sounds of other's descriptions of the LEEP system this is
> probably the better plan.
>
> I haven't shot many Large Format pairs (and light leaks ruined the
> ones I did), but I plan on doing more on my next long trip.
>
> I would recommend that you rent a 4x5 (inches) monorail camera, a lens
> of the appropriate focal length and a 6x6 rollfilm back.  You can find
> 6x9 (centimeters) monoroail cameras (e.g., the Acra Swiss F-Line) and
> rollfilm backs, but they are not as common as 4x5 cameras.  If you do
> rent a 6x9 monorail you might still want to use 4x5 lenses because
> they will give you the ability to use more movements.  If necessary,
> you can rent via mail order.  I'd also recommend Norman McGrath's
> "Photographing Buildings Inside and Out" and Steve Simmons' "Using the
> View Camera".
>
> The various Medium Format cameras with built-in shift and tilt (e.g.,
> the Hasselblad Flexbody, Fuji 680) all have very limited movements,
> are heavy (compared to a proper view camera) and have a limited
> selection of lenses that work with movements.
>
> Camera movements should not make the subject look strange, unless of
> course the photographer chose to do so.  There is no reason for camera
> movements to look strange in stereo, unless the photographer chose to
> do so.
>
> There are two types of movements (rise/shift, swing/tilt) and two
> places (front and back) where movements can be applied.
>
> Movements at the back of the camera can not effect the perspective.
> Perspective can only be controlled by changing the lens to subject
> orientation.  If you imagine an infinite plane at the focal plane, the
> rise or fall or left or right shift of the camera back simply selects
> (within the limits of the lens' image circle) what part of that plane
> you are getting your image from.  Tilt and swing of the camera back
> effect the shape of the image (by changing the lens to film projection
> distance (i.e., magnification) of different parts of the film).  This
> is how view cameras can take square pictures of buildings.  By keeping
> the back of the camera parallel to the building face (mostly through
> tilting the back to keep it vertical) the building looks square.
>
> Movements at the front of the camera effect perspective (rise/shift)
> and focus/DOF (tilt/swing).  Perspective control is useful when you
> can't put the camera where you would like.  For example, if there is a
> mirror in the scene, and you don't want the camera to show, you place
> the camera to the left of the scene and shift the lens to the right.
> For interiors you probably will stop down the lens rather than use
> tilt or siwng.
>
> When shooting interiors there are two things to keep in mind.  First,
> it is very important to keep the camera level (both left/right and
> fore/aft), especially when using very short focal length lenses.
> Second, you have to be careful about your lighting and film type.
> Interiors will very often wind up involving mixed lighting (natural,
> tungsten and flash).
>
> The easiest way to do stereo with a large format camera is to put the
> camera on a slide bar or macro focusing rail.  Set up the camera for
> the scene with whatever movements are needed.  Take the first
> exposure, slide the camera and then take the second exposure.  You
> could use the camera shift to do the slide, but if you've used swing
> or tilt at either the front or back things become much more
> complicated.
>
> The books I mentioned above go over all of this (with diagrams and
> examples) much more clearly that I can here.  Feel free to ask any
> questions.
>
> --
> Brian Reynolds                  | "Dee Dee!  Don't touch that button!"
> reynolds@xxxxxxxxx              | "Oooh!"
> http://www.panix.com/~reynolds  |    -- Dexter and Dee Dee
> NAR# 54438                      |       "Dexter's Laboratory"
>
>
>
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