That's why I've been suggesting that the OP find somebody with a view camera and go play.
One truly fun aha moment I had was when I figured out I could, in the right scene, skew the perception of how tall a mountain looks and make a more interesting print by manipulating the tilt (front to back pitch) of the back to get an effect similar to what a painter like Georgia O'Keefe could get and still get a visually level horizon by manipulating the tilt of the film right or left (roll).
With a bit of experience using a LF camera and then seeing some of O'Keefe's paintings that were next to her own photos of the same scene it suddenly clicked for me and opened a whole new set of opportunities. One where level by the bubble isn't even relevant.
Agree completely. Even if you don't stay with it long a view camera can teach you so much, to say nothing of the upside down image, a revelation in itself.
Not sure I didn't miss something here. All my LF kits have a small level. That way if the compositional need arises I can level the camera. If it doesn't arise, the instrument can stay in the bag. I'm certainly not going to use it for every photo. Or not use it for every photo.
It's quite portable and light weight and not much of a bother to carry, after all.
"They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they’ll still be there looking at you."
— Diane Arbus, March 15, 1971, in response to a request for a brief statement about photographs
When I was a kid way back when, living in So Cal, my brother actually spotted a new office building from the freeway that he said was crooked. Turns out he was right, and he was not the only onle that noticed, not long after that the newspaper did a story about the building.
Builder's fault as I remember.
Mark Barendt, Beaverton, OR
"We do not see things the way they are. We see things the way we are." Anaïs Nin