![]() Press cameras (Graphics and their counterparts) have very limited adjustment capabilities. Modern field cameras (Shen Hao, Tachihara, Ebony, etc) generally have some capabilities, but there is a compromise between maximum flexibility and both portability and the ability to fold into a neat package that one would want for nature/landscape work that involves hiking. Unfortunately, they are bulky and not very portable - they work fine in the studio or in situations where transportation is not a major problem. Monorail cameras are designed to provide the maximum degree of tilt/shift/rise and fall. The ability to make optical corrections is not an inherent characteristic of all large format cameras, but rather is a feature that some cameras are designed to provide. The fact is that many of the corrections that were done using the shift/tilt 35mm lenses provided by Nikon and Canon can now be done digitally in Photoshop or The Gimp. ![]() Today, the 35mm format world has shifted dramatically toward digital capture, while large format is generally still based on film. You should understand, however, that because this equipment was designed to emulate the capabilities of large format equipment, it really can't accomplish all that large format equipment potentially can do. ![]() Various camera manufacturers (Canon and Nikon in 35mm) have created lenses that have some limited abilities to shift or tilt to address these specialized needs. However, there are situations when a photographer needs to have the ability to make optical corrections but doesn't want to have to deal with the bulk, weight, cost and processing complexities of large format. The most common application for this kind of equipment is architectural photography. That characteristic is used to achieve optical corrections in the final image. The ability to adjust the relationship between the subject plane, lens plane and film plane is a characteristic that is unique to SOME (not all) large format cameras. While I shoot more 4x5, I have found the rollfilm back to be very useful. My solution was to add a Linhof Super Rollex rollfilm back to my view camera, which gives me a workable medium format view camera solution when I need it. I nearly bought a GX680, but decided against this system solely based upon cost. The biggest advantage is being able to use these lenses for handheld shooting. While these are nice lenses, and work well within a smaller frame, they are far less versatile than a view camera. I own a Nikon 35mm f2.8 shift lens, and I have used their 28mm and the newer 85mm (tilt and shift). The upside is SLR focusing, and the precision of an electronically controlled shutter. Compared to a large format camera with a rollfilm back, you would be getting a lesser range of movements on the GX680. The downsides are that this is a heavy system, and lenses are nearly as expensive as similar large format lenses. There is a good range of lenses, and briefly there was a digital back available (I think only in Japan currently). Obviously simple and more limited than a view camera, though okay when you need quick shots. Zeiss also have a few choices in this direction. There are also a few interesting Super Rotator lenses in various focal lengths, which can be found through Hartblei and a couple other companies. A better bet in smaller format is adapting either an Olympus or Nikon shift lens. Unfortunately the Canon tilt/shift lenses have some mixed reviews about their image results (check PDN Forums for a start). Finally, 4x5 film (even using 30 year old LF lenses) offers vastly superior resolution to 35mm film or even the best full-frame 35mm digital, adding further to the view camera's list of benefits. Start adding all of that up and a basic 4x5 camera body and a few lenses begin to look like a bargain. Even the manual focus 35 T/S Canon lens is relatively expensive when found used, and this assumes you already own a film body it will fit on. The TSE lenses each cost about $1000 - more new, less used. ![]() In conclusion, they are useful if you already have an SLR they fit on, but they do not provide the same compositional freedom as even the most basic view camera. ![]() Lastly, viewing through the tiny, low magnification finder makes fine adjustments difficult at best compared to composing on a 4x5 GG with a good loupe. They do however offer more than adequate rang of tilt (or swing) for extending PoF, given their relatively short focal lengths. Moreover, the range of movement available with them, at least from a rise or shift point of view is limited relative to a LF camera and comparable focal lens. The inability to use combinations of movements with the TS lenses is a significant restriction of the SLR options. I own Canon digital cameras and have all three current TSE tilt-shift lenses - and of course am a fairly prolific shooter with LF. ![]()
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