You can also rotate the lens barrel and apply shift movements left and right. Using the shift movement of a tilt-shift lens, you can move your perspective up or down and still keep vertical lines vertical. A cardinal rule with architectural photography is keeping perspective and vertical lines true and straight. Probably the biggest reason a photographer buys a tilt-shift lens is for architectural photography. But why pay big bucks for this specialty lens? What can it do? This precision, combined with high-quality glass, makes tilt-shift lenses expensive. Small gears and knobs are placed on the lens, allowing very precise and controlled movements. Tilt-shift lenses look awkward since the front part of the lens can change positions. Canon TS-E 24mm ƒ/3.5L II tilt-shift lens Finally, swing movements swing the lens barrel to the left or right of the lens axis. Next, tilt movements enable the front of the lens to be tilted forward or upward, changing the angle of the front of the lens to the film plane. First, shift movements allow the lens to be moved up and down to change perspective, but the lens elements always stay parallel to the film plane. But tilt-shift lenses have special construction allowing the front of the lens to be moved in different directions. Standard lenses have all their glass elements fixed parallel to the film plane. Tilt-shift lenses are unique in that you can adjust the angle of the lens plane. But could post-processing create the same effect? And did I need to buy an expensive tilt-shift lens, or were there less expensive options? Let’s look at what tilt-shift photography is all about, and how it might improve your photography.
#Tiltshift bondage software
And as creative tilt-shift photography became popular, editing software like Photoshop added tilt-shift blur filters. A variety of creative effects were also possible. Soon after getting my first tilt-shift lens, I realized that keeping vertical lines straight was only the beginning of what this lens could do.
And to easily change my perspective without bending the walls, I needed a tilt-shift lens. To correct this keystone effect, I needed to keep my lens parallel to the wall. All the room walls were bowing inward presenting warped hotel room images to clients didn’t go over so well.
But reviewing my images after a few shoots, I realized I had a big problem. At first, photographing room interiors sounded pretty simple-go in, set up a few lights, put on the wide-angle, and blaze away.
From kitchen remodels to spacious hotel suites, I was hired to photograph interiors. My first commercial assignments landed me in a kaleidoscope of interiors. This image of a fishing village shows the miniaturization effect using a Nikon PC-E Micro-NIKKOR 45mm ƒ/2.8D tilt-shift lens.
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