The only limitation to movements on a view camera is the coverage of the lens. But, with the right lens and the right bellows extension, you can duo some pretty weird things. And I wouldn’t be surprised if Ansel didn’t do most of them 
The difference between Ansel and most digital photographers was not just down to the equipment he used, he used to “previsualise” what the finished print would look like before he even pressed the shutter.
Then he would ensure that the exposure would fall in such as zone, and that would require push or pull development of so many stops, in order to get the best possible negative to print from.
Did the negative reflect what he saw? Only in his mind. If most photographers were to develop the neg in their usual way, without taking regard of whether it was deliberately over or under exposed to change the tonal range, it is doubtful they would be able to print it.
Even then, the finished print rarely reflected “reality” but what Ansel perceived to be what he experienced at the time of pressing the cable release.
And yet I don’t see many people damning Ansel for his lack of integrity.
By the way, here is a shot (yes it’s digital) by my dear friend Helen, who also uses view cameras. A sort of tribute to his “Moonrise, Hernandez”
Clearing storm and moonrise, Tréduder © 2021 Helen Summers