arTec unpacking video

Two days ago my new arTec arrived but sorry, I just forgot to take the unpacking ceremony on video and thus cannot share this with you. Instead I want to share my thoughts of why it finally had to be an arTec and all the steps I considered until then.

I had my first noteworthy contact with architecture photography in 1987 during my photography education in Braunschweig. For some religious order and private hospital we had to take interieur shot of parts of the hospital an inside the church located on the area. We (my boss) choose to shoot on Agfachrome 50L color slides in 13x18cm - a film emulsion which was very forgiving in shooting conditions with tubular fluorescent lamps. Who ever has used this film, will know what I am talking about. And 13x18cm is a quite impressive format to work with!

At this time I also bought a used Rolleiflex SLX with Planar 2.8/80mm in Braunschweig. I just thought this would be a useful camera, but in reality it soon turned out that I had not enough money to buy additional lenses.

In 1990 I moved to Munich. During my time as an assistant for Ludwig Leonhardt in 1990 I finally sold the rarely used SLX, decided to not accompany my wife on her four week trip to San Francisco (to save the money) and to buy a used Sinar p in excellent condition instead. From 1990 on I exclusively shot 4x5inch or 13x18cm slides (stillife, food, architecture/industy) with my Sinar p.

But then in 2003 I gave up my studio, sold my Sinar equipment and studio flash equipment. I decided to do more and more IT-services for industrial clients and soon I had to realize that I was completely out of photography business. So I did not make the transition to digital MF or LF up to now.

In the past two years I decided to reinvest in photography and printing gear and to work on different sujets than I did before. I can not imagine to have a studio again. I begun qtvr and interieur/architecture photography, and also fine art printing. I came across this forum as I was looking for information about MF digital backs.

After I have read across different posts and the information provided about different MF digital backs and the Rollei Hy6 I decided to write an email to Calumet (Leaf), K&N (PhaseOne) and to the Sinar rep Helmut Rampp. The Sinar rep showed up the next day and was only able to demonstrate different Sinar backs on his old Hasselblad, but not on Hy6. K&N did not even respond to my eMail (I assume because of PhaseOne has nothing to offer for Hy6), and Calumet made ridiculous low priced offers, but were not able to demonstrate a Hy6 with Leaf Aptus-II-7 at my place.

I picked up the phone and called Rolf Nachbar - we shared the same education in 1985 in Braunschweig and I knew he demonstrated the Hy6 at photokina. He lend his Hy6 with eMotion75 to me for a weekend and I was able to shoot some tests and try the Sinar software eXposure. I found out that his 50mm lens was great but not wide enough - from some shots with a Mamiya RB and 50mm lens some years ago I had this misconception, that a 50mm on a Hy6 with eMotion back would be a decent wide angle lens. But as I wanted to go much wider, it became soon very clear to go the arTec route instead. Also the 2.8/80mm AF Xenotar included in the Hy6-Set was not for me - I wanted a fast portrait lens... all I ever wanted do do is shoot portraits in available light with shallow dof... and interieur/architecture with a very wide lens.

Time to think everything over and over again. And this horrendous high prices... Then I contacted Thierry Hagenauer via this forum. I wanted to get the official and newest sinar price list, as the Sinar brochure material I got from the Sinar rep was not up to date.

I considered buying a Hy6 with Planar 2/110mm but I definitely did not know how to proceed with (the lack of) wide angle lenses. Then I had a look at the Alpa website; the Alpa 12 Max looked very interesting... but no sliding adapter... what a horrible imagination to take the digital back off the camera when I am on location.

I met the Sinar rep two more times and he was able to demonstrate the arTec that I have never seen live before. When I first tried the arTec I was so disappointed about the small viewfinder groundglass, and especially the handling. This camera was soooo tiny and small - I expected something like I have been used to before like my Sinar p. This was the first time that I realized how tiny and small everything was. No big great 4x5inch, 13x18cm or 8x10inch groundglass anymore, what a pity! But this was how I fooled myself and shooting with a MF digital back is of course different to cut film in large format.

In mid december I finally ordered a Hy6-e75r set with eMotion75, Schneider 2.8/80mm, Planar 2/110mm, and arTec with Rodenstock HR 28mm lens and brand new Rodenstock 40mm lens when one is available. Sinar offered to send a Rodenstock HR 35mm in the meantime, as the new 40mm is not available now - and to replace the 35mm by the 40mm later if I decide to not keep the 35mm.

Karsten

Hi Karsten,

Sinar is fortunate to have someone like you so dedicated to write the story of how a decision was made. Have you mastered the Sinar software yet. Nicolas Claris has some pretty good workflow for the Sinar back. What guidance were you given by the Sinar sales representative?

Asher

And Now for Something Completely Different

Asher Kelman said:

Sinar is fortunate to have someone like you so dedicated to write the story of how a decision was made. Have you mastered the Sinar software yet. Nicolas Claris has some pretty good workflow for the Sinar back. What guidance were you given by the Sinar sales representative?

Click to expand...

Hi Asher,

when I met Helmut Rampp the first time, the discussion was all about the Hy6 and digital backs in general. Helmut Rampp has been responsible for Sinar service and support previously - and has just taken over responsibility for Sinar sales for the south german area Munich/Stuttgart/Frankfurt. I was happy that he was able to demonstrate different Sinar backs only one day after I have contacted him the first time, even though he did not manage to obtain a Hy6 demo unit within one day. I told him that I want to go to a larger capture format with Hy6 and the Zeiss Planar 2/110mm for portraits and eventually add a wide angle lens later in mid 2009. When he mentioned the new arTec camera I suddenly knew that this might be the answer to the optical limitations a SLR would have at the wide angle end. I showed him some of my panorama pictures and casually mentioned that I will consider the purchase of an arTec later, when I will have made sucessful acquisitions at interieur/architectural customers. At this time I did not really realize that I would buy an arTec so soon - instead I knew I just wanted to add another wide angle lens to the Hy6 first. Helmut Rampp also mentioned that there is a special price for the Sinar eMotion54 back - and that I will not have a significant loss in value over the time compared to the Sinar eMotion75. He promised to obtain a Hy6 demo unit and make an new appointment then.

The other day I picked up the phone and called Rolf Nachbar. I had so many questions about his experience with Hy6 and digital backs. He offered that I could come over to his studio and try the Hy6, but I didn't have the time (280km 3h by car) to meet him, as I was quite busy with my current job. He was so kind to bring his Hy6 case with eMotion75 and 180mm/80mm/50mm lenses with him to Munich at the next weekend, as he wanted to attend the annual pic-verband meeting anyway. This way I got my hands on a Hy6 in less time than Sinar might have provided me with a Hy6 demo unit...

I must say that I have been totally biased towards Leaf digital backs at that time, because at all the Hy6/digitalback combinations I have seen so far in press releases or at different websites, the Leaf Aptus backs looked so much better (design and menue) than the Sinar backs. But when I first tried the Hy6 with eMotion75 I fully accepted the look&feel of the Hy6/eMotion75 and also the handling of digital back/software when shooting tethered. So I finally realized that the emotion75 is somehow limited with features, but I very much appreciated the workflow with the Sinar eXposure software.

When Rolf visited me at home after his pic-verband meeting I had a long discussion about my Hy6 findings and if and why I should buy an eMotion54 instead of the much more expensive eMotion75. I stated that I could save costs in buying the eMotion54 first, but Rolf just questioned that regarding utilization time and inevitable upgrades later...

As you can clearly see, I have been much more influenced by Rolf how I made the decision towards buying Sinar than by the Sinar sales representative Helmut Rampp.

And now for something completely different...

Some days later I got a call from the Calumet sales representative... He told me that Calumet will present the Hy6 and Leaf Aptus digital back on the road show in a few days in Munich and asked if I would like to attend the demonstation... I told him that I am busy and cannot attend the show...

(oh how I hate these shows - I thought by myself - where all these hip&crazy photographer colleagues show up that never ever can afford the new equipment, just to talk shop)

...and that he may visit me at home and that he should come with a Hy6 and Leaf Aptus-II-7. I mentioned that I am just in negotiation with Sinar and that I would like to receive an offer from Calumet too. He then continued to annoy me with the great features of the windows ce based Leaf back and how cool it is to create different named folders at the digital back for the different customers/sujets/blafasel I might have during a production in the studio or on location... and even more idle talk - I just didn't know how to polite end that phone call and let him talk. In the end I knew that I would hardly buy an AFi-II-7 (Hy6 with Aptus-II-7) at Calumet. A few days later I got a ridiculous low priced offer from Calumet by email. Until now Calumet has not been able to demonstrate the AFi-II-7 at my place and I don't know if the Leaf Aptus-II-7 is available right now.

And now for something completely different... again

The second time I met Helmut Rampp, the discussion was all about financial arrangements. I already knew what I really wanted and that it had to be an additional wide angle camera in addition to the Hy6 with the Planar 2/110mm. I have never had the opportunity to try an arTec so I asked Helmut Rampp for a demo unit and made clear that I did not want to to buy a pig in a poke. He arranged another appointment where I finally could try the arTec.

At that third meeting with Helmut Rampp I tried the erTec and was somehow dissapointed (as I described earlier) and somehow confident enough to place my order for the Hy6, eMotion75, arTec and lenses... I forgot to tell you that Helmut Rampp is very competent and never tried to impress me with the usual fud and never told me such absolute nonsense as the Calumet representative did.

And now for something completely different... pictures of Sinar arTec camera and case

In the pictures you may see clearly the advantage of smaller size. Years ago I had to schlep the huge Sinar p case packed full with camera, bellows, lenses, polariod cassette, 15 cut sheet filmholder 4x5in. and black cloth...









Karsten

Karsten Schneeberger said:

And now for something completely different... pictures of Sinar arTec camera and case

In the pictures you may see clearly the advantage of smaller size. Years ago I had to schlep the huge Sinar p case packed full with camera, bellows, lenses, polariod cassette, 15 cut sheet filmholder 4x5in. and black cloth...

Click to expand...

Hi Karsten,

Thanks for sharing the decision process. I handled the arTec on the photokina 2008, and it is indeed a relatively small package, especially if one's reference is 4x5in to 8x10in viewcameras.

It might be useful to mention (for our metrically challenged friends across the pond) that your ruler is in centimetres, not inches.

I can't wait to see the images made possible with this fine equipment ...

Bart

Bart_van_der_Wolf said:

Hi Karsten,

Thanks for sharing the decision process. I handled the arTec on the photokina 2008, and it is indeed a relatively small package, especially if one's reference is 4x5in to 8x10in viewcameras.

Click to expand...

Yes, and I'm getting more and more interested in that with the shift back which I presume can be used for stitching. Or is the sliding back only to facilitate replacing the ground glass with the back?

Now is there any set of handles as an option? I would like to be able to use this handheld!

Asher

Dear Asher,

the sliding part of the arTec allows of course precise shifting of the back, with a patented mechanism which put the back exactly in the shifted position set on the ground-glass with the eyes: no need to read of the numbers of mm's and then report them by sliding the back in place.

We are discussing the possibility to have handle(s) in the near future. I shall inform when this is decided.

Best regards,
Thierry

Asher Kelman said:

Yes, and I'm getting more and more interested in that with the shift back which I presume can be used for stitching. Or is the sliding back only to facilitate replacing the ground glass with the back?

Now is there any set of handles as an option? I would like to be able to use this handheld!

Asher

Click to expand...

Thierry Hagenauer said:

We are discussing the possibility to have handle(s) in the near future. I shall inform when this is decided.

Click to expand...

Glad to hear that!
Though it won't be on the package that I'm waiting for within few days…

It would have been 'handy' (pun intended) when I'll be in the chopper! ;-)

And AFAIK one can do stitching to!

BTW congrats to Karsten for her new combo!

Thanks Thierry about the handles. Now to the ability to stitch. How wide could the stitch be?

Asher

Thanks Thierry about the handles. Now to the ability to stitch. How wide could the stitch be?

Asher

Hi Asher,

you may shift within +/-20mm only from left to right, but I have no experience if these are practical values when stitching a whole scene that otherwise would not have fitted in one picture. The arTec was not made to stich vertically, as the lens moves up and down.

If I were more interested in stitching horizontally and vertically, or even rotating the camera (arTec tripod rotation axis is nowhere near the lens axis) I would have considered buying an Alpa instead. To use the arTec handheld is also beyond my imagination...

Karsten

Hi Karsten,

First of all, let me commend you for the detailed story of your decision process, it is very interesting to read. Also, I am looking forward to reading the continuation of your "adventures" with the new camera. Thanks for the effort you are putting into this, much appreciated .

Cheers,

Thanks for the detailed writeup. This is really a great time to be looking at these small architectural cameras with the arTec, Linhof Techno, Cambo Wide DS, Alpa, and Silvestri, not to mention 6x9 offerings from Arca-Swiss and Ebony out there now--all excellent cameras and the choice among them more a matter of personal preference and availability than of quality. Out of curiosity, did you consider the Techno?

Yes, of course did I consider the Linhof Techno... but the Techno does not have the sliding adapter. Maybe the Techno is better from the handling when you want to tilt (Scheimpflug) the lens than the handling of the arTec.... I don't know and am quite unsure how the arTec will stand the test...

I somehow dislike Linhof since the beginning when I used and fully understood how to handle a Sinar p. But things changed now and my aversion towards Linhof may be generally unfair.

Up to now I consider the tilt mechanism of the arTec to be no much fun and something I won't miss if it had not been built into the arTec... but time will tell.

Karsten

Dear Asher,

I refer here to my "Sinar arTec thread started when the camera was announced: it contains all the technical features and details of this camera. Here:

http://www.openphotographyforums.com/forums/showthread.php?t=6211&page=6

Best regards,
Thierry

Asher Kelman said:

Thanks Thierry about the handles. Now to the ability to stitch. How wide could the stitch be?

Asher

Click to expand...

Important to understand, when stitching, in this case vertically, is that even though the stitching mechanism is not in the lens axis, this doesn't really matter in practice and when the subject is not too close (about 5 m): one won't notice any paralax. That issue was considered, when the camera was designed, and after Rainer's intensive testing concerning this and according to his own findings, priority was given to a vertical shift on the front of the camera.

Same concerning the rotation axis: emphasis has been put on the camera stability, since once again, the rotating not being right under the lens does really matter in practice only when shooting subjects close to the camera.

I would suggest to make some tests with it.

Best regards,
Thierry

Karsten Schneeberger said:

Hi Asher,

The arTec was not made to stich vertically, as the lens moves up and down.

If I were more interested in stitching horizontally and vertically, or even rotating the camera (arTec tripod rotation axis is nowhere near the lens axis) I would have considered buying an Alpa instead.

Karsten

Click to expand...

Karsten Schneeberger said:

Yes, of course did I consider the Linhof Techno... but the Techno does not have the sliding adapter. Maybe the Techno is better from the handling when you want to tilt (Scheimpflug) the lens than the handling of the arTec.... I don't know and am quite unsure how the arTec will stand the test...

I somehow dislike Linhof since the beginning when I used and fully understood how to handle a Sinar p. But things changed now and my aversion towards Linhof may be generally unfair.

Click to expand...

I think the Techno can take accessories for the M679 cameras, for which there's a sliding back, but when I looked at it at PhotoPlus Expo, I didn't think to ask. I saw the arTec as well and found them both fairly intuitive to use, since I have two Technikas and a Sinar P and the controls on both cameras seemed to be where I expected them to be. I liked the fact that the Techno has a bellows, so it can take longer lenses and doesn't require a separate helical mount for each lens, and I liked having the full traditional movements on the front standard, as well as the general Linhof solidity. The tilt on the arTec that I saw seemed not to be working properly, perhaps due to mishandling at the show, but it seemed like a less bulky camera than the Techno, which has more the form factor of a non-folding flatbed camera.

There's probably more intuition than reason in preferring one of these excellent cameras to the other, and it's fortunate that there are such choices available in the face of the DSLR juggernaut.

yoo, pimp my arTec

Concept vise I am much more addictet to the handling of the actual Sinar p3, but as I do not intend to have a studio again, I feel fine with the arTec.

David A. Goldfarb said:

I liked the fact that the Techno has a bellows, so it can take longer lenses

Click to expand...

To me the arTec is a wideangle (28mm, 35mm or max. 40mm lens) and shift camera only, optimized for travel and on location photography... nothing more and nothing less, especially not the Eierlegende Wollmilchsau

oh sorry, wrong link... please have a look at the dictionary or wikipedia... btw, what would be the english equivalent? ))) Maybe we should stop discussing possible additional extras like handles, shoulder-straps, viewfinders, or even additional accu packs that may be mounted into the tripod thread ))))

Karsten

Karsten Schneeberger said:

....oh sorry, wrong link... please have a look at the dictionary or wikipedia... btw, what would be the english equivalent? )))

Click to expand...

Jack of all trades, perhaps?

David A. Goldfarb said:

arTec, Linhof Techno, Cambo Wide DS, Alpa, and Silvestri, not to mention 6x9 offerings from Arca-Swiss and Ebony out there now--all excellent cameras and the choice among them more a matter of personal preference and availability than of quality

Click to expand...

Most important to me was also to spend that huge amount of money to a german corporation only and in case of customer complaint or service to have a contact person nearby. I definitely do not want to make long distance phone calls in case of service!

Karsten

Karsten Schneeberger said:

Concept vise I am much more addictet to the handling of the actual Sinar p3, but as I do not intend to have a studio again, I feel fine with the arTec.



To me the arTec is a wideangle (28mm, 35mm or max. 40mm lens) and shift camera only, optimized for travel and on location photography... nothing more and nothing less, especially not the Eierlegende Wollmilchsau

oh sorry, wrong link... please have a look at the dictionary or wikipedia... btw, what would be the english equivalent? ))) Maybe we should stop discussing possible additional extras like handles, shoulder-straps, viewfinders, or even additional accu packs that may be mounted into the tripod thread ))))

Karsten

Click to expand...

hi karsten,
i just can speak about my own experience, but i use the tilt more often than i ever thought. mostly to extend the sharpness and to shoot with f8 and having the foreground or facades at the sides sharp. with 4x5" i didnt used it often on location, but sharpness check on the display is way faster and cheaper then the polaroids in the film days. just 1 degree of scheimpflug helps for at least one stop with the 28mm, and being used the mechanism and more or less how far it has to be tilted, allows me to use it nearly intuitive now.

at the moment i have the longest lens with 90mm,- which i use quite often. i wait for the 135mm, so for me its not a pure wide angle camera, it covers more or less the same range ( if the 23mm is available ) than i had with my 4x5" gear,- where 400mm was my longest lens which is similar than 135 in 36/48mm format.

further i stitch a lot in both directions. for distances which are common in most architecture work there is no parallax visible and ps cs3 or 4 helps a lot with its phantastic stitch plug in.

Rainer Viertlböck said:

i use the tilt more often than i ever thought. mostly to extend the sharpness and to shoot with f8 and having the foreground or facades at the sides sharp.

Click to expand...

Bonsoir Rainer
Thanks to share your experience here! the above is well noted ;-)

When you have time, some samples shown here would be nice to look at for every one…

Kind regards

Rainer Viertlböck said:

hi karsten,
i just can speak about my own experience, but i use the tilt more often than i ever thought. mostly to extend the sharpness and to shoot with f8 and having the foreground or facades at the sides sharp. with 4x5" i didnt used it often on location, but sharpness check on the display is way faster and cheaper then the polaroids in the film days. just 1 degree of scheimpflug helps for at least one stop with the 28mm, and being used the mechanism and more or less how far it has to be tilted, allows me to use it nearly intuitive now.

Click to expand...

Hi Rainer,

Congratulation on seeing this camera through it's design and finally it's use and a fine instrument. I'm interested in the difference of just one degree of Schleimflug. If you have an example some time that would be great. That would be harder to see on the ground glass that on the LCD screen.

When you are up on a platform/crane, how much tilt do you need then or do you just stop down more?

Asher

I would say that a 1° tilt (or swing, depending on the subject) does make a huge difference, at infinity or around (ant that's almost always the kind of reproduction scale one is working on location and with architectural shots), allowing to "win" at least one stop and thus bringing the lens to its optimal aperture in terms of reproduction quality.

That use to be the same, with 4x5" and film, but back then, the "sweet" spot of the LF lenses was around f22, with a maximum f45 - f64 to avoid diffraction. Today, and with digital lenses this has changed. Those lenses not longer give their best at f22, but much wider open. Those lenses are expensive, the camera in it is expensive, such a whole kit is a lot of money, all together: if one simply stops down to reach the DOF, one does not take advantage of the maximum quality which can be obtained with such a high-end equipment, and that's a waste and a pity, IMO. One has here a view camera, with which a single little tilt of a few degrees allows to set the plane of sharpness in a way to reduce the stopping-down of the lens and bringing it to or close to its optimal reproduction quality.

That should be our aim, always.

Best regards,
Thierry

Asher Kelman said:

Hi Rainer,

Congratulation on seeing this camera through it's design and finally it's use and a fine instrument. I'm interested in the difference of just one degree of Schleimflug. If you have an example some time that would be great. That would be harder to see on the ground glass that on the LCD screen.

When you are up on a platform/crane, how much tilt do you need then or do you just stop down more?

Asher

Click to expand...

usually i dont need scheimpfug on a crane, except if i take facade shots. then the vertical depth can be increased. with wide angles 1% is a lot and often it alows you to take the shot at f11 when you would use f22 otherwise.

Rainer Viertlböck said:

usually i dont need scheimpfug on a crane, except if i take facade shots. then the vertical depth can be increased. with wide angles 1% is a lot and often it alows you to take the shot at f11 when you would use f22 otherwise.

Click to expand...

I would never have thought of that! (but I never used this kind of camera and lens before…)
What's the minimum distance required from the plan? I am affraid that it won't be of much help ina 6X6 meters room (interior of boat)…

it would, Nicolas, of course. Scheinplflug works the same way. But when closer to the subject then the necessary tilt (or swing angle) increases.

The principle of Scheimpflug is very easy to understand: adjust your plane of sharpness in the longest/deepest extension of the subject. By doing so, it will not reduce your DoF, but place it in another dimension/direction in the subject. DoF always extends 90° (rectangular) from the sharpness plane. Or in other words, you have to adjust your sharpness plane so that the smallest extension of the subject becomes your DoF dimension: and the smallest/shortest extension will automatically need lesser stopping down of the lens, and that's exactly what you are looking for.

Best regards,
Thierry

Nicolas Claris said:

I would never have thought of that! (but I never used this kind of camera and lens before…)
What's the minimum distance required from the plan? I am affraid that it won't be of much help ina 6X6 meters room (interior of boat)…

Click to expand...

Thierry Hagenauer said:

it would, Nicolas, of course. Scheinplflug works the same way. But when closer to the subject then the necessary tilt (or swing angle) increases.

The principle of Scheimpflug is very easy to understand: adjust your plane of sharpness in the longest/deepest extension of the subject. By doing so, it will not reduce your DoF, but place it in another dimension/direction in the subject. DoF always extends 90° (rectangular) from the sharpness plane. Or in other words, you have to adjust your sharpness plane so that the smallest extension of the subject becomes your DoF dimension: and the smallest/shortest extension will automatically need lesser stopping down of the lens, and that's exactly what you are looking for.

Click to expand...

Thierry,

A drawing would be great. Unless someone knows optics, the excellent description my not be fully understood.

Asher

Thierry Hagenauer said:

it would, Nicolas, of course. Scheinplflug works the same way. But when closer to the subject then the necessary tilt (or swing angle) increases.

The principle of Scheimpflug is very easy to understand: adjust your plane of sharpness in the longest/deepest extension of the subject. By doing so, it will not reduce your DoF, but place it in another dimension/direction in the subject. DoF always extends 90° (rectangular) from the sharpness plane. Or in other words, you have to adjust your sharpness plane so that the smallest extension of the subject becomes your DoF dimension: and the smallest/shortest extension will automatically need lesser stopping down of the lens, and that's exactly what you are looking for.

Click to expand...

Thierry,

A drawing would be great. Unless someone knows optics, the excellent description might not be fully understood.

Asher

hi Asher,

I was just thinking to put a slide of my workshop ppt. presentation. However, I estimate this to be basic and general knowledge, and do hope that this is known.

Give me a few minutes and I shall post some drawing illustrating what I mean.

Thierry

Asher Kelman said:

Thierry,

A drawing would be great. Unless someone knows optics, the excellent description might not be fully understood.

Asher

Click to expand...

Alright, here we are,
2 images to illustrate what I am saying.

In the first, it's a typical situation which a fixed plane camera (35mm or MF) cannot handle, concerning depth of filed: it would need to stop down from the foreground to the back of the subject, far behind ---> impossible, even if one would be able to stop down at f 256!

Now the view camera allows to set the sharpness plane on the table, where the playing cards are lying. From this setting, with the plane of sharpness on the table, the depth of field extends up and down (remember? in 90° from the sharpness plane!). Now all you have to do, is to shoot WIDE OPEN and all will be sharp, with the view camera.

Have a look here:



Now, admitted, one does not often have subjects which do not extend in the 3 dimensions of space, like this cards lying on the table. But even then, one of the 3 dimensions of the subject will most of the time be shorter (except you are shooting a cube). See the following drawing, how the sharpness plane is tilted down, making the "UP-DOWN" dimension of the subject becoming the extension of the DoF, when stopping down. And I guess everybody can understand and agree that stopping down for the "UP-DOWN" dimension will need less than stopping down for the "CLOSE-FAR" extension of the subject.

here:



That's it, not much more to understand, when it comes to Scheimpflug. It needs a bit practice, that's all.

Thierry