Sinar f2 - The cameras; The view camera movements

Fig.36
Fig.37
Fig.38
{n
Transport
The SINAR
p2,c2andt2
Before stowing the camera in the SINAR case
push
the
two
standards to-
gether
clear of both the red dots on the
key rail
of
the 422.21
base
rail. In
this
position
the camera with
various
accessories
fits
comfortably
in the 475,26
case
(expert
or basic
4x5"/9x12 cm outfits) or in the 475.42 SINAR EXPERT
case
(expert
outfits
or
basic 5x7"/1 3x1B cm or 8x10"/1
8x24
cm outfits). To
protect
the camera against dust and damp
when
set up we
recommend
the
571.42 dust cover
(basic
outfits) or
the 571 .52
cover
(expert
outfits).
The
Sf
NAR 11
andf2
You
can also fold the SINAR
t1
andt2 as shown in Fig.34.
Preferably
leave
the rail clamp
on
the tripod. The
camera
then fits in
an executive-style brief-
case.
The
view
camera movements
Direct shifts
(see
Fig. 35)
Suitable for
short extensions
(use
the
wide-angle
bellows
if
necessary).
O Set up the
camera level
O Adjust
the shifts to
centre
the
image
Note:
Verticals
appearvertical if the rearor image
standard is
parallel
with the
vedicals
of the
object.
The lens
standard
position
affects only sharp-
ness
distribution, not
perspective-
Indirect
shifts
(see
Fig.
36)
Suitable for long
extensions, with the
professional
bellows hood and for
more
extended
shifts.
O
Incline
the
camera
O
Realign
the
standards vertically
by
the
coarse tilt
(arrows)
Usually the indirect
shift
method
is
preferable
as it
allows considerable incli-
nation
of the
camera even with long
extensions,
reserves
the micrometer
shifts for fine
adjustment
and
makes for
a
more
rigid setup
of
the
standards.
Also,
a bellows hood mounted
on the basic rail unit, filters
etc
remain
lined up
with the
optical
axis.
Rotating
the
camera
Rotating the
camera
about
the
basic
rail
unit
provides
any
intermediate
posi-
tion between
upr(1ht
and
horuontal
shots. Unlike a
rotating
back this keeps
all
tilt
and swing
axes lined
up
with the
image
axes.
The
bellows
hood
also ro-
tates with
the
camera, wfii<t'l avcfds comer vignetting.
[o
switch between
vertical
and horizontal
shots tum the
back
round
through
90'.)
Extreme
tilts
at short extensions
Special effects
sornetimes call for extreme tilts with short-focus
lens€s
-
best achieved
by a vertical-axis
swing of
the
standards.
Dependrrp
on the
subject
position
you
may
have
to rotate the camera through
90'
In
the
rail
ctamo.