Precise composition

[hoot]

There's a problem I occasionally encounter with the Mamiya 6. It actually applies to all rangefinders, but I'm shooting some architecture on commission with the Mamiya 6 so this is where I'm posting it. 😀 In these photos, it's usually important for the immediate foreground to be in precise alignment with the background (e.g., highlighting an architectural detail in the background by framing it within an opening in a foreground detail, such as branches of a tree). Up until now, I've tried to estimate the distance between the viewfinder and the lens, and move the camera accordingly prior to taking the picture, but it still feels like a shot in the dark (no pun intended) and more often than not, the alignment is more than a bit off. I could take several photos each time, but that would quickly multiply my expenses.

Has anyone got any tips?

 

[aizan]

buy a hasselblad!

 

[fraley]

Wouldn't a longer focal length alleviate the problem? You would be further physically from the foreground object.

 

[thomas_m]

Parallax and DOF control are the very things that made me look into cameras other than the M6/M7. In the end, light weight, handholdability and killer lenses won out. If you have do do serious architectural shots you really need to be using a view camera. Even a Hassie/Rollei/Mamiya SLR won't have all the control needed even with a T/S lens.

In the short run, I'd probably rent a Mamiya RZ67 and the 75 T/S. Long run, if I planned on doing a lot of this type of work, I'd probably buy a used monorail system (which I actually may do this summer..).

T.

 

[Gordon Coale]

A very good buy for architectural work is the Burke & James. The same camera was sold for 5x7 and 4x5. Sometimes you can find them with both backs. It's a tailboard but has all the movements a monorail has. Just not as rigid but you can get them for not much more that $100. There is no substitute for perspective control.

 

[jan normandale]

Earlier comments are probably right. You really need a view camera for architectural photography to deal with perspective.

All I can suggest is to go for a fast film and when there is good light close the aperture down to something like f16 or f22 to work the max depth of field for your lens.

Good luck

 

[Roger Hicks]

Look for a 'baby' Linhof, or stick an RF back on a good late 4x5 of some kind, or use an RF/DV camera that will accept a ground-glass (e.g. Alpa, Mamiya-Press/Polaroid, Graflex XL). RFs are good for lots of things but not really for architecture.

Having said that, I have even used a Bessa with a 12mm, marking the tripod post for the difference between the VF viewpoint and the lens. Compose; raise the tripod post by the requisite amount; shoot. To do this you need a VF directly above the lens. Otherwise you will need a cross-slide as well for left-right adjustment.

Here's the 12mm shot, which also appears on page 33 of Rangefinder -- Equipment, History, Techniques GMC Publications 2003. The cross (in St. Clement's, New Romney) was 30-40cm or 12-15 inches from the lens.

Cheers,

Roger (www.rogerandfrances.com)

 

[wdenies]

Have a look at the german ZORK system.
This system allows you to transorm practically every 35mm and medium format camera into a semi-field camera (shift & tilt).
For macro work it accepts inexpensive enlarger lenses

 

[hoot]

Thanks, guys! I'll be looking into all of these suggestions.

 

[wdenies]

Other sugestions:

The B.I.G. (Kiev) shift/tilt lenses available for 35mm camera's:
Nikon-Canon eos-Minolta dynax-Contax-Olympus-Leica R-Canon FD-M42-Pentax-Minolta FD
Focal lenghts: 35 or 80mm
Price: 35mm 569 eur, 80mm 499 eur

Perspective correction:

Photoshop (CS): select all, edit-transform-distort

 

[canonetc]

Hi, If I understand what you;re asking, I'd say give yourself enough distance between you and the foreground object so that you are not creating a parallax problem. At least eight feet and you'll be fine. From my own experience most P-lax problems occur 3-5 feet between you and subject/object.

cheers,

Chris
canonetc

 

[hoot]

Hi, If I understand what you;re asking, I'd say give yourself enough distance between you and the foreground object so that you are not creating a parallax problem. At least eight feet and you'll be fine. From my own experience most P-lax problems occur 3-5 feet between you and subject/object.

Ah, but immediate close-ups have much more visual impact. 😎

 

[Doug]

You'll want to move the camera so that the center of the lens ends up where the center of the viewfinder was. But modern cameras fight you in this by providing an automatic attempt at parallax error compensation by moving the framelines. Now you need to try to compensate for this SECOND kind of viewfinder error!

This will either take some dedicated development of technique, or a switch to TTL ground-glass viewing. You might even be able to rig up a gizmo on your Mamiya Six to accomplish the latter, maybe made from TLR screen and WL viewfinder parts that would attach to the 6's film gate with the back door open. Then load a roll and shoot it.

I'd probably have another GAS attack and look for a Fuji GX680. 🙂

 

[chametzoo]

Doug's reply, is so far the sanest of all if you are doing a small amount architectural work and don't want to invest in specialized equipment. I know an architectual photographer who does some landscape work with a Fuji 6X17 rangefinder and at first ran into some difficult parallax and perspective alignment problems. He ended up doing something like what doug suggests, which is to use vellum as a "ground glass" viewing and framing device...just like a view camera. You can use a 6X6 loupe and throw a dark cloth over the camera and tripod to keep light out and aid viewing. Experiment and test...it will work if you are precise. You will be sabotaging the entire viewing system of the Mamiya, but then you can 'convert' it back to a plain old rangefinder easily, and use it for what rangefinders are typically good for.

 

[hoot]

Thanks. Could you give me more information about the equipment I need? What exactly is vellum and where do I get it? Why should I use it rather than a piece of ground glass? How do I attach this "ground glass" substitute to the camera so that my hands are free to adjust focus, aperture, etc.? Why do I additionally need a loupe? Also, since the Mamiya 6 has a leaf shutter rather than a focal-plane shutter, does this presuppose using a cable release to lock the shutter open at Bulb? Sorry for firing all these questions at ya!

 

[Doug]

Vellum will work, as will that frosted kind of Scotch tape, but ground glass (or the plastic equivalent) would stay flatter and be more durable for multiple use. A ground glass and focusing hood from an old TLR shouldn't be too costly, esp if your local repair guy has one in his junk box.

The focusing hood is useful because it shades the ground glass, plus it incorporates a magnifier. A loupe would work too, but that's another thing to hold onto. The idea is you'll probably want to closely examine the ground glass to determine the best focus.

Yes, indeed, on the shutter open on B or T... Otherwise the ground glass would look rather dark and featureless! 🙂

Edit: Oh, yeah, vellum. The material monks used to write on... boned sheep's-skin? Ever hear of a college diploma referred to as a "sheep's-skin"? These days though, it's just a translucent type of paper popular for printing historic-looking certificates and such.

Ok, the best for last... How do you attach this ground glass and focuing hood... I don't know! Gaffer's tape? Rubber bands? Maybe the repair guy you got the ground glass and focusing hood from will figure out something... and this issue may make a difference as to just which ground glass and hood is selected. He might fabricate a clamp or bracket to hold the whole thing in place.

Thanks, chametzoo! Maybe you have some more ideas...

 

[hoot]

Thanks for the info, Doug! Let's see if parts of my Kiev 60 can be made use of...