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Chicago - so who need tilt and shif? ;D

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Pretty convincing. Want to share your creation time and technique?
 
JMarshallPhoto said:
Tilt and shift?
Click to expand...
He means a lens made for altering the perspective to "rectify" the linear convergence that typically occurs and is most obvious in architectural photography.

Maybe he'll post a "before" shot too.

joel*
 
Nice series Michal. Looks like you had a good time. Where was the interior shot?
 
Nice shots but nit-picking, where is the use of Tilt in these pictures?

The good thing about a real shift lens is that it enables you to see the effect before you press fire, it only takes a few seconds to set, you don't lose image quality through interpolation, you can create panos without moving the camera (or having to deal with entrance pupils), you don't have to spend time adjusting geometry for each image (which can be very time consuming, especially on a large number of shots) and you can shoot round objects or hide the camera in mirror shots. Some other reasons as well no doubt which others can add.

Ed
 
ed209 said:
you can create
panos without moving the camera
Click to expand...
Hey Ed -

I never heard of that advantage, how does that work? Is it a function of the tilt or the shift?

joel*
 
All are good reasons, but those things do not justify (in my eyes) significant purchase of tilt&shift lens. I'm doing panos for some time now, with quite good results without T&S. Of course I'm not a professional architecture photographer.

The photo with the dome is actually stitched from two photos.

--

Michal

A700 +Tamron17-50&Tamron70-300
A300 + SAL18200
 
joel avery said:
I never heard of that advantage, how does that work? Is it a function
of the tilt or the shift?
Click to expand...
I've never tried it myself and it has a limitation of 2 shots but those 2 shots can give you a lot more width than a single shot of course.

What you do I think is to put the lens on near-max shift and rotated so the shift is out to the left or right.

Take the shot.

Rotate the lens 180 degrees and take another shot.

Stitch them together without adjustment because each shot has the same entrance pupil. I suppose you can then rotate the camera and repeat this for another pair of shots which will only have one merge needing adjustment when added to the first pair (rather than three merges needing adjustment).

OK, think that is the gist of it.

Ed
 
Thanks Michal!
Shows the difference clearly.

joel*
 
Hi Michal,

I like your shots particually the ones of the circular roof. the correction on your first shot makes it look a lot better, although I think it needs rotating a little so that the building in the middle is straight as it is at a slight angle.

--
http://www.mokeweb.co.uk/gallery2/main.php
 
Considering the depth of field in your photos, you don't.

Still, you need to use wider angle lenses for any given subject and crop away a lot of pixels. A shift lens may not be indispensable, but I wouldn't mind having one.

Also, if you want a shallow depth of field to run diagonally through your picture, the Scheimpflug principle applies, and you'll find it hard to reproduce in Photoshop. For this you need tilt.

Minolta used to make a couple of VFC lenses (variable field curvature). Those would also be nice to see back in production. One of them had shift as well.
 
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