Movements
Photographers use view cameras to control focus and convergence of parallel lines. Image control is done by moving the front and/or rear standards. Movements are the ways the front and rear standards can be positioned to alter perspective and focus. The term can also refer to the mechanisms on the standards that allow the position to be achieved.
Not all cameras have all movements available to both the front and rear standards, and some cameras have more movements available than others. Some cameras have mechanisms that make intricate movement combinations easier for the photographer.
Some limited view camera–type movements are possible with SLR cameras using various tilt/shift lenses. Also, as use of view cameras declines in favor of digital photography, these movements are simulated using computer software.
Read more about this topic: View Camera
Famous quotes containing the word movements:
“His reversed body gracefully curved, his brown legs hoisted like a Tarentine sail, his joined ankles tacking, Van gripped with splayed hands the brow of gravity, and moved to and fro, veering and sidestepping, opening his mouth the wrong way, and blinking in the odd bilboquet fashion peculiar to eyelids in his abnormal position. Even more extraordinary than the variety and velocity of the movements he made in imitation of animal hind legs was the effortlessness of his stance.”
—Vladimir Nabokov (1899–1977)
“Justice begins with the recognition of the necessity of sharing. The oldest law is that which regulates it, and this is still the most important law today and, as such, has remained the basic concern of all movements which have at heart the community of human activities and of human existence in general.”
—Elias Canetti (b. 1905)
“Who among us has not, in moments of ambition, dreamt of the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our souls, the undulating movements of our reveries, and the convulsive movements of our consciences? This obsessive ideal springs above all from frequent contact with enormous cities, from the junction of their innumerable connections.”
—Charles Baudelaire (1821–1867)