Planeoffocus v100410

Large Format Photography

Episode Three: “The Plane of Focus!”
An approach for evaluating a scene for large format photography
Photography and Text by Lon J. Overacker
© Lon J. Overacker Article: Tilt & Swing http://www.lonoveracker.com Page 1

Table of Contents

Introduction............................................................................................................................................................... 3
Guidelines for Tilts and Swings:....................................................................................................................... 3
Notes and Terms used in this guide:.............................................................................................................. 5
Scenario One: The Easy Ones. Example #1 ............................................................................................... 7
Scenario One: The Easy Ones. Example #2.......................................................................................................... 8
Scenario One: The Easy Ones. Example #3 ........................................................................................................ 9
Scenario One: The Easy Ones. Example #4 ...................................................................................................... 10
Scenario Two: More difficult. Example #7.............................................................................................. 13
Scenario Two: More difficult. Example #8.......................................................................................................... 14
Scenario Two: More difficult. Example #9.......................................................................................................... 15
Scenario Three: Nearly impossible? Example #10 ............................................................................. 16
Scenario Three: Nearly impossible. Example #11........................................................................................... 18
Summary ................................................................................................................................................................... 21
Recommended reading/links:......................................................................................................................... 21
Acknowledgements:............................................................................................................................................. 21

Notice: With the exception of links to external references, all images and text copyright ©Lon J. Overacker

Introduction

The Plane of Focus! An approach for evaluating a scene for the Large Format

The objective of this guide is to provide examples and practical discussion for the novice or first time large format
user to evaluate a scene, help them determine the “plane of focus,” and how to approach what tilts and swings may be
needed. Evaluating a scene for potential tilts and swings is no less important than considering composition and lens choice
before actually setting up the camera. In fact it will be helpful to separate the thoughts of composition and lens choice
from the evaluation of the scene for the plane of focus.
The approach of evaluating a scene for tilts, swings and focus before getting behind the ground glass will greatly
improve your ability to complete your camera set up quicker and with less frustration. And contrary to popular belief, tilts
and swings are not always required and are often not even recommended. Additionally, this approach may also dispel the
notion that large format photography is slow. Learning this approach can actually speed up the process of capturing a large
format image.
This guide does not cover the actual techniques of how to focus a view camera. I recommend reading the
“Focus/check” method by Howard Bond. You should also become familiar with the Scheimpflug principle. Recommended
reading and reference links are provided at the end of this guide.
While this guide was written with the Large Format photographer in mind, the approach and concepts discussed
here can also apply to the digital shooter with either tilt and shift lenses or with multi‐focus exposures for blending on
Photoshop. The principles remain the same. This is also intended for those types of scenes where the photographer
desires everything to be in focus from near‐to‐far. There are of course many other types of photography where perhaps
soft focus or a shallow depth of field is required.
Before we begin, let’s review a few thoughts and guidelines you might want to consider during the process of
focusing your large format image on the ground glass. Following these guideline tips, is a “Notes and terms” section, then
we will provide many examples and discuss how best to approach or evaluate these scenes.

Guidelines for Tilts and Swings:
1. (Important!) You will generally use LESS tilt and swing than you think you will need. Start with small
movements and then work your way towards the optimum focus points. If you tilt too far at first, you'll get
nothing but frustrated.

2. Evaluate the scene. Choose your "plane of focus" BEFORE you get under the dark cloth to start focusing. (ok,
you've already looked for rough framing, but don't start tilting and fine focusing until you've evaluated the
scene.) Do you want the image sharp front to back? Are there strong verticals to consider? Is there a close
object on the left and a far object on the right – will swing be needed? Consider the layout of elements and
what you are trying to accomplish in terms of focus and depth of field. Determine your plane of focus.

3. Choose TWO focus points to define your plane of focus. These selected focus points in will generally include a
near object and a far object. It is not necessary to pick as one of your focus points a foreground object that is
exactly at the very bottom of the frame, and it is not necessary to pick an object at the exact top of the frame.
In fact, choosing the focus points away from the exact edge of the frame will help you in focusing with your
loupe. In addition, the plane of focus and depth of field (DOF) will almost always pick up those elements on the
extreme edge.

4. Focus Wide Open. Focus on ground glass (GG) screen using the widest opening of your lens. This allows you
the most precise way of knowing that your two chosen focus points are indeed in focus. What you see on the
GG is what you get. While under the dark cloth you can slide the aperture ring to a smaller value and even
though at f/22 as the GG gets darker, your eyes will adjust and you will be able to see that everything is in
focus ‐ or at least more in focus than at f/5.6.

5. Check your Verticals. When verticals like tall trees or buildings are included, try to keep the rear standard
vertical so you avoid the key stoning, converging lines and perspective issues, etc. If you must tilt the camera
forward or back, tilt the bed of the camera and then move the rear standard back towards vertical and use rise
and fall of the front standard to get your subject back in the frame. (The same is true for horizontal elements
and swing.)

6. Focus Far, Tilt Near. Although this is not a guide on how to focus a view camera, this little saying may be
helpful to remember if you use this method for focusing the view camera. As it relates to the focus points in
this guide, FF and FN relate to the far and near points for focusing on the ground glass. Pick a far point, FF,
which will be at the bottom of the ground glass and focus on that point or object. Next, tilt the lens using the
front standard until the focus point you previously chose, FN comes in to focus. In most all near‐far landscape
images you will be tilting the lens forward from its default position. In most cases you will need to re‐check FF
and likely have to repeat the process a couple of times. I highly recommend the check/focus method described
by Howard Bond mentioned above and also in the references at the end of this guide.

7. Zero your settings in between scenes. Zero all your front and rear standard settings, tilt, swing, rise, fall, etc.
before starting a new scene. Always start from known default positions.

8. Stop Down to check focus. Often times if you have multiple areas that you want to ensure are in focus, you can
stop down the lens to a smaller aperture and check for focus. It will be much darker on the ground glass, but in
many cases you are still able to check focus.

9. K.I.S.S. Keep it Simple Sherlock (ok, you know the saying…)

Notes and Terms used in this guide:
1. Linked Images. The image examples in this guide are linked to larger, original views. Click on an image for the
original view. Ultimately, the best results can only be judged in viewing a large print.

2. Example Images. Throughout this guide, illustrations like Figure 1 are overlaid with each photo example to simulate
a chosen plane of focus. Remember, the plane of (sharp) focus is NOT limited to the drawn illustration. The plane
extends to infinity through the entire scene; the drawn box is simply for illustration to show where one might chose
the plane. The KEY to this guide is for you to visualize the plane of focus when evaluating the scene BEFORE you get
behind the ground glass. The text in Figure 1 is explained in upcoming notes.

Figure 1.

3. Plane of Focus. The plane of focus is an invisible plane that extends from behind the camera, through the scene
and on to infinity. Everything within your framed scene that resides on this plane of focus will be in sharp focus.
What makes the Large Format system unique is that the plane of focus can be moved from parallel by tilting either
the lens or the film plane (ground glass.) In general, this allows the sharp focus of elements in the image from the
immediate foreground extending to the far background. In fixed lens camera formats such as 35mm, medium
format and digital, the “plane of focus” will always be parallel to the film and lens plane. Everything will be in sharp
focus that resides on that flat, invisible plane, but the format must rely on small lens apertures to obtain more
depth of field. (There are now tilt‐shift lenses as well as digital “blending” techniques in these formats, but for the
purposes of this discussion the comparison is to help define the plane of focus with large format camera systems.)

4. Focus Points. Figure 1 also illustrates the “focus points,” used in this guide. “FF” and “FN” represent far and near
focus points for tilt and “SFF,” “SFN” represent focus points for swing. These terms will be used in this guide to
identify the elements or locations within a scene that define the chosen focus points. These points will reside on,
and actually define the plane of focus. For swing, the far and near focus points will be left/right where near and far
are interchangeable depending on the layout of the scene. In other words, you could have left to right swing, or
right to left. Choosing only two focus points greatly simplifies the process. However, you should always check
focus throughout the scene. This will help in confirming you have chosen a good plane of focus.
Please NOTE: The placement of the focus points in the scene is determined by you, the photographer. The
focus points you choose define the plane of focus. The planes of focus as shown in this guide are only an
illustration and the real plane of focus extends far beyond the yellow box shown in these examples.
5. Acceptable Focus and Depth of Field (DOF). Every object that lies on the plane of focus will be in sharp focus.
Acceptable focus is the area above and below the plane of focus that will be sufficiently sharp to be considered in
focus. This area above and below the plane of focus is also considered the depth of field, shown by the green
arrows in Figure 1. The distance or amount of acceptable focus is dependent on two things: First, the lens aperture.
The smaller the opening the greater the depth of field. Secondly, the distance between the subject and the lens.
The farther away the subject is from the lens, the greater the depth of field. This is why there is such a narrow
depth of field when shooting close‐up or macro. How much is acceptable focus above and beyond the plane of
focus is explained by the hyper focal distance below. Acceptable focus is also a function of print size. What is
“acceptable” at 8x10 may not be acceptable at 40x50.

6. Hyper Focal Distance. Is basically defined as everything in an image being in “acceptable focus” from ½ the
distance between the film plane and the focus point/focal plan and extending all the way to infinity. As shown in
Figure 2 below.

Figure 2


Scenario One: The Easy Ones. Example #1
Ok, you’ve spotted your scenic landscape that you want to capture on your big large format camera. Once you
have chosen your composition, set up the camera and roughly framed your scene on the ground glass, take a moment, step
back and think about the scene before you. It is now time to evaluate the scene and choose your approach on how best to
focus the image. Do you want everything sharp front to back? Or do you want to use selective focus and a shallow depth
of field to emphasis one element in the scene? What type of scene are you viewing? Is it a sprawling, grand view of a
landscape where you want everything in focus near‐to‐far? Let’s take a look at some examples below that would generally
be considered as fairly easy and straight forward scenes to use tilt. (Click on the image for the original view )
#1
Example #1 from Death Valley is a classic near‐far grand landscape where tilting the front lens, or in combination
with the rear standard, is very straight forward. The shaded “plane” in this example is what you should visualize well before
getting under the dark cloth. Evaluating and understanding the type of scene you have in front of you will greatly increase
your efficiency in setting up and focusing this scene. In this example, choosing any of the clumps of grass in the foreground
and some point in the far dunes or mountain range as your second point of focus should make quick work of this image.


#2
Both Example #1 and #2 are classic examples of near/far landscapes where tilting the front standard or in
combination with the rear standard is straight forward. You have points of interest in the foreground and background that
you can use for your two focusing points. And in general, you don’t have any strong vertical elements that you have to be
concerned about. These are two good examples for the use of the “focus far, tilt near” technique.
Start by evaluating the scene out from behind the GG and dark cloth; determine up front which two areas you want
to pick as your points of focus. ‐ In the case of the poppies and oak tree here in Example #2, I would use the cluster of
poppies just to the left of the small rock ‐ or the smaller rock itself as the near focus point (top of the GG) and the top of the
oak tree in the background as the 2nd or far focus point.
Now you can go to the ground glass and start your tilting and focusing routine using those points you already
identified. This should really help by having these decisions made before getting behind the glass and under the hood.

Example #3 From the ghost town of Bodie, another “Easy” example for determining whether or not tilt can be
used and where to set your focus points. You have fairly obvious near and far elements to use as focus points, and the
plane of focus is fairly easy to visualize. In this case, just think of an imaginary plane that stretches from the top of the
wagon wheel to the top of the left hand building. Actually any of the buildings would work. In this example here, I would
focus about ¾ up the way of the main building; say the top of the stairwell. Then extend that focus plane to somewhere
near the middle of the wheel. There’s your two points. The tilting and focusing should go pretty quick for this scene. Stop
down to f/32, or so, and you’ll have everything in focus front to back.
#3

Example #4 is your classic field of flowers where you most often want sharp focus front to back. Again, visualize the
scene away from the camera and pick two spots you will use for your near and far focus points. The obvious foreground
point would be any one of the poppies in the cluster at the bottom. For the second, far focus point, choose a grouping of
flowers at least 3/4 of the way in to the scene but not at the extreme top edge. You don’t need to select the very top of the
frame; your resulting depth of field will cover.
#4
In this example of the field of flowers, it is very important to stay consistent with your focus points as you go
through the tilting and focusing mechanics. It can be very confusing at times with literally hundreds or even thousands of
focus points. Make it easy on yourself and simplify the scene in your mind before getting behind the ground glass.

Occasions will arise and scenes will be photographed where you won’t need any tilt or swing, and you should have
a reasonably quick and straight forward focus. Examples #5 and #6 should give you an idea as to how best to recognize the
types of scenes where swings and tilts will not be effective or even necessary. You will need to rely completely on depth of
field, (DOF) and hyper‐focal distance.
#5
Example #5 with the pines and dogwood has a flat, vertical plane of focus. Recognizing this when you are
evaluating the scene will hopefully make the focusing processing easier and more efficient. You will have to decide where to
actually focus the lens, but since the scene and plane of focus is essentially parallel with the front and rear standard (film
plane) of your camera, there is no need to perform any tilts. In real practice, there will be scenes in which the trees aren’t
perfectly vertical and parallel to your film plane and you may have to do a minimal amount of tilt to get the top and bottom
of the trees in sharp focus, but in general, this is an example about DOF and tilting is generally not required.
In this example, you need to ensure that the camera is set to its default positions – see guideline #7 above. By
understanding the basics of hyper‐focal distance, you will have everything in acceptable focus from ½ the distance in front
and 2/3 behind your focus point. (Of course, the distances vary with aperture.) In evaluating the scene, I estimated that
any of the three pine trees are approximately 1/3 of the way “in to the scene” and so I focused on a tree trunk and made
sure it was sharp bottom to top. Now you can adjust the aperture to maximize depth of field and shoot! Easy, right?

Similar to Example #5, one of the keys to Example #6 with the snow laden trees, is the distance between the
camera and subject. This scene also has a flat vertical plane of focus, consequently there will be little, and most likely NO
tilting to deal with. When in the field, you will get a sense of distance that’s hard to explain in writing, but in this example
these trees are more than 100 yards away, so for all intent and purposes, whatever point in the image you choose for focus
points will work. Your only tilting concern is ensuring the rear standard is vertical so that you can keep the trees straight
and that the front standard and lens are parallel with both the rear standard and the focal plane. Use front rise or fall if you
need to adjust your framing.
#6
Examples #5 and #6 are classic examples of when tilt most likely will not enter in to the equation. Yes, some small
amount of tilt may be required to make sure all is in focus top to bottom, but in these last two cases, it’s more important to
have all your planes in parallel and utilize the lens aperture to control the depth of field.

Scenario Two: More difficult. Example #7
The following examples are a bit more difficult to evaluate. They are not necessarily more difficult to perform tilts
and swings, but more difficult in evaluating whether or not you should even use tilt or swing. The key take away from this
guide continues to be, step away from the camera for a moment, evaluate the scene and then make a determination as to
how best to approach achieving maximum amount of DOF.
Do you have prominent vertical objects such as trees in the mid or near foreground? Examples #7 and #8 are
typical scenes where tall, prominent objects will alter how you approach focusing the scene. In both cases, using tilt is NOT
an approach that will maximize depth of field. What happens is, as you tilt the lens forward to maximize depth of field
along a plane of focus that follows the ground, near‐to‐far, guess what happens? The top part of the tree or vertical
element will be impossible to get in focus. In these cases we must rely on small apertures, DOF and hyper focal distance to
maximize the amount of acceptable focus.
#7

Scenario Two: More difficult. Example #7 (cont.)
You can, and should, use your tilt functions (front or rear standard) to make sure the tree trunk is in focus bottom
to top, but you must rely on a small aperture to gain the necessary DOF to have everything in acceptable focus. Previous
Example #2 of the poppies and oak, also had a tall tree, but the tree is sufficiently far enough away that the entire height of
the tree will fall within the "zone" of acceptable DOF. Example #7, the fall color image, the tall snag is approximately 1/3 of
the way into the scene and utilizing the hyper focal distance and a small aperture, f/32 or smaller you should be good to
go.

#8a #8b
Example #8 the Sycamore trees, is actually quite a bit more difficult. . The tree has branches going every which
way, including coming right at you, and also going away. There is no way to get every bit of this tree in focus at your
focusing aperture, f/5.6 for example. Therefore you will need to pick a point or an area of the tree near the top and near
the bottom to be able to perform your focusing adjustments, then simply use a small aperture, f/32 or smaller to obtain the
necessary DOF. #8a illustrates what happens if you use tilt in this scene. The very tops of the trees will not be in focus and
most likely not even acceptable focus when stopped down to a small aperture. Tilt will NOT help in this situation.
Evaluating and making decisions about scenes like this before getting under the dark cloth will help prevent frustration and
should make a scene like this actually rather quick to set up and shoot.

Example #9 of the leaves, rocks and trees is a bit in‐between. Evaluating this scene, you have a scenario where you
want the forest floor, leaves and mossy rocks to have good detail front to back, but you also have some tall trees that you
want in sharp focus. In this case, the trees are sufficiently far away, but you definitely need to consider their height. When
viewing this scene, I would pick a mossy rock up front, probably the biggest one at the bottom. Then pick a second point
about half way up one of the trunks on the left. Your imaginary plane of focus would extend from the top of the bottom
rock through the middle of the cluster of trees on the left. This will allow the DOF, above and below the plane of focus to
get everything sharp front to back – AND not lose the tops of the trees.
#9

Scenario Three: Nearly impossible? Example #10
As a reminder, the lesson here is to take the time away from the camera to evaluate the scene in front of you.
There WILL be scenes that are extremely difficult and frustrating to focus and maintain excellent depth of field. A few
examples are presented here. The following examples may also bring swing in to the equation. One might think that this
complicates the process, but again, analyzing what you have in front of you before you start will improve your chances of
success behind the ground glass. So rather than having two focus points, you may have three or four. For the swing focus
points, they are indicated by “SFF” and “SFN.”
Here we have a tough scenario in Example #10 with the vineyard image at sunset. Add the fact that TIME is a
major factor here. This means evaluating and making decisions well before you need to release the shutter. Perhaps a good
30‐40min ahead of time will be what you need to plan and execute this image. Planning your image is the key here. Leave
yourself plenty of time to perform the difficult adjustments. Having a plan ahead of time will certainly make this easier.
#10
It should be fairly apparent that this scene will require more swing than tilt. Swing is exactly the same as tilt, only
you’re turning the plane of focus 90 degrees; making the “tilt” side‐to‐side rather than bottom to top. Or think of it as
turning the camera on its side and using tilt; same thing.

Scenario Three: Nearly impossible? Example #10 (cont.)
To start out however, we should look for any tilts that may be required. In this case we would concentrate on the
vertical attributes of the main vine stalk to set the tilt, if needed. Next, concentrate on the swing by picking a point for far
focus and then a 2nd point for near focus and tilt. A new leaf to the right of the main stalk and another set of leaves just left
of the main vertical trunk will work for the two focus points.
Now let’s go back and think about this set up, and think back to the consequences of tilting too much when a scene
contains a tall, vertical object like a tree. Here, we don’t have tall trees, but we have a “tall,” horizontal line of a vineyard.
As we “swing” the lens towards the sun to get the full line of the main row of vines in critical focus, we have taken “out of
focus” the second and third rows of vines, most notably in the lower right corner. To ensure acceptable focus throughout,
we will also require a small aperture to increase the depth of field.


Scenario Three: Nearly impossible. Example #11
Example #11 of this Aspen landscape in the Eastern Sierra is a tough one. Given the previous examples to this
point you should be able to recognize why this is a difficult scene. The tufts of grass in the foreground are an easy pick for
your near focus point. But the trees and depth we want in this one makes it tough for the second focus point. You've got
the mountains way back at infinity. You have the tall trees in the middle and left as well as a cluster of leaves in the upper
right that are much closer. You certainly want all these elements in nice, sharp focus. What to do?
#11
Honestly, try to make this as simple as possible. Don’t let the complexity of the scene make it a point of frustration.
Understand and accept that there isn’t a single plane of focus that will bring every element in this scene into sharp focus
without relying on DOF. We had already determined ahead of time that the tufts of grass would make a nice near focus
point. Now we need to consider the various aspens for a second focus point. The cluster of leaves in the upper right is the
closest to the lens. The brilliant yellow aspen in the mid background is furthest away. If you were to select a point ¾ of the
way up the tall, left hand aspen (partially shaded) this would be a good compromise. Therefore you may need a little front
tilt and also have to rely on a small aperture to gain the additional DOF to bring as much as possible in to sharp, acceptable
focus. Voila! Please NOTE the vertical component of the grasses too; which is why you choose a mid point for focusing.

Example #12 with the Dogwood and Sequoia is yet another difficult example. This one should serve as a great
example of why it is a good practice to evaluate your scene without the use of your camera. Pay attention to what areas of
the scene you want in sharp focus and how much depth of field you think you may need. No amount and combinations of
swings and tilts will get everything in focus at your focusing aperture, and quite possibly even at small apertures. So, right
up front, you know you need to pick focus points and a plane of focus that will maximize your DOF using a small aperture.
#12
In evaluating this scene, the first thing to look for is a vertical focal plane to insure the large Sequoia and the smaller
gray tree to the left are sharp bottom to top (FF and FN). Second, there is a slight swing of the focal plane running right to
left and we might choose swing focus points in the small tree and large dogwood on the right. Choosing what you will focus
on and where you want your plane of focus can be a difficult choice here, but doesn’t have to be if you simply think about
the scene before you start making camera movements.
From what we’ve learned so far, we don’t need very much in terms of front tilt because we want to make sure we
have the Giant Sequoia bottom to top in focus. This leaves us with just a little right to left swing and not very much at all.
Remember guideline #1 at the beginning of this guide. F/32, probably f/45, or even f/64 and you should be able to cover
the acceptable range of focus. Just with tilts, you need to watch the corners when using swing.

This may appear to be a complicated scene, but when you boil it all down, a scene like this requires very little in the
way of movements (tilts and swings) and will rely more upon where you place your focus points and how small of an
aperture you choose. Example #13 of the aspens and first snow is almost a trick question. A scene like this can quickly
become frustrating as you try attempt to find focus points, do I need I need tilt? Swing? How much tilt? Where do I start?
As scenes get busier and more involved, sometimes it’s best to just step back for a second and make the decisions as simple
as possible. No need to over think a scene like this. The more complicated it is, the simpler you need to make it.
#13
Impossible? Well, not really, and it doesn’t have to be. Example #13 shows there are scenes where tilts, swings,
and camera movements in general aren't needed and often potentially detrimental. The only tilt involved will be insuring
that you have one of these vertical aspen trunks in sharp focus from top to bottom (FF and FN.) Generally, this means you
only need to have the front and rear standards in parallel with one of the aspen trunks. Utilize the hyper focal distance and
acceptable focus in front of the focal plane and behind to choose a focus point. Choose an object about 1/3 of the way in
to the scene, use a small aperture and you should have most everything in acceptable focus front to back.
Don’t let the chaotic nature of the scene frustrate you. Make it simple. K.I.S.S.

Summary

The objective of this guide was not just to show examples about where you should place the plane of focus, where
or how to focus. This was about learning an “approach” to evaluate a scene that would provide you, the photographer with
the best chance for being successful under the dark cloth and behind the ground glass. There are many techniques,
methods and certainly enough math to confuse even the most scholarly of photographers. In the end, large format
photography doesn’t have to be an exact science and being in the ballpark is quite often close enough. And reducing the
complexity of setting up a view camera will hopefully make your experience more enjoyable.
While this guide mostly uses examples of general nature landscape images, there will be times when you want a
shallow DOF field or want to use “selective focus” to isolate or emphasize a particular element; or perhaps even macro or
more close‐up images of nature. The approach taught in this guide for evaluating a scene and making decisions of focal
planes and focus points should help you in these other areas of photography as well.
If you have any feedback or additional questions, please don’t hesitate to contact me at info@lon.overacker.com

Recommended reading/links:

1. “Focus/check” method by Howard Bond. (“PC” and “PF” interchange with FF and FN in this guide)
2. http://www.largeformatphotography.info/ All things Large Format by Q.T. Luong
3. How to Operate a large format camera by Q.T. Luong
4. Hyper Focal Distance ‐ Wikipedia
5. Hyper Focal Distance – DOF Master
6. Scheimpflug principle ‐ Wikipedia
7. Scheimpflug / Plane of focus – Thomas Christopher Moore ‐ video

Acknowledgements:

I would like to thank the following photographers for their critiques, suggestions and edits in producing this guide:

Tony Kuyper, Preston Birdwell, Harley Goldman, Paul Breitkreuz, and Michael Gordon.

Planeoffocus v100410

Diunggah oleh

Informasi Dokumen

Judul Asli

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

Planeoffocus v100410

Diunggah oleh

Hak Cipta:

Format Tersedia

Anda mungkin juga menyukai