Peter Figen wrote:
Here's a - believe it or not - two handheld horizontal grab shots stitched - one running the shift all the way up and the other shifting down. I say grab, because I was on Kaiser property and couldn't set up a tripod without attracting security goons. I'm in the process of trying to get legitimate permission to go back and shoot for real, but I've run in to the most paranoid idiots you can believe. They're afraid - get this - that I might actually want to SELL them an image, and that would be taking advantage somehow of Kaiser. The level of corporate stupidity knows few bounds......Show more →
If I were hoping to obtain some work with a particular company I sure wouldn't call them stupid paranoid idiots in a open forum anyone could read.
Nice shot BTW, good luck with this endeavor.
Peter
Architectural Photography by Peter Montanti, www.mountainphotographics.com
Go on Yakim, you only live once go get the 17 and 24 tse and you will love. I originally want the 90tse for food and macro. When the 17 & 24 were released I got them instead hoping a new 90tse would follow suit. Well I could not wait anymore and I purcased the 90tse as well. I got into the bug just like you.
Perry
n0b0 wrote:
You know you want it Yakim... Resistance is futile.
I love this lens. It changes the manner in which you can take images. Next to making impossible architectural shots possible I love the lens for giving me a new way to shoot images. This image for example was possible without the crazy shift.
I have learnt a lot so far how to use it. Especially that you have to shoot buildings from angle and beware of putting relevant items/ tall buildings on the side of the frame because of distortion.
Amazing photographs. I know all these places pretty well. What do you mean by:
'This image for example was possible without the crazy shift'
and later you say:
'Shifted up almost fully'
Khun Hans wrote:
Amazing photographs. I know all these places pretty well. What do you mean by:
'This image for example was possible without the crazy shift'
and later you say:
'Shifted up almost fully'
Thx a lot. In the first image using a normal 17mm lens without shift would have resulted in lots of water and very little sky while I wanted the sky for the stars.
Khun Hans wrote:
You mean it 'wasn't' possible without the crazy shift? How many shots? Vertical?
What time was it in the morning?
Thanks
Hans
Even with a vertical position this was not possible. I would have gotten more water as I'm standing just above waterlevel. I think I cover much more sky like this. Time is also limited and I would have had to do more shots.
jamach wrote:
For doing architectural photos inside a church or cathedral is it best to just get the 17mm or is the 24 more of a better option? Body is 5D2
Thanks
You would find that both would be needed. I have the 17 and the new 24 and I am actually using the 24mm for most of my work and the 17 mainly for wider or taller stuff. And I just ordered the 90mm exclusively for architectural detail shooting. For some work with both of these lenses you can see here: http://johnmillsphoto.com/?SI=built
fantastic shots, John. One of the skateboarder in the tube with the photog on top is spectacular. Looks like you understand how to use the TSe lenses, thanks
jamach wrote:
For doing architectural photos inside a church or cathedral is it best to just get the 17mm or is the 24 more of a better option? Body is 5D2
wow, a wide varying of views, need to bring all the focus points together. Sounds like the 17 for architectural and inside shots and the 24 for inside and architectural shots. But the 24 for landscape or for a wider view the 17. Of course, having all the lenses would help so that options are available for given conditions.
I would also like the 90mm so I can do flowers, but then again all I need do is gather differing focusing spots and stack the pics, no?
jamach wrote:
fantastic shots, John. One of the skateboarder in the tube with the photog on top is spectacular. Looks like you understand how to use the TSe lenses, thanks
They are not too difficult to use. The hardest part was the 24mm and getting it to be sharp right through the shot-it is a very fine line when doing fairly close focus points to infinity, very easy to mess it up. I had a long grounding with 4x5 photography so it was fairly natural to me.
That skater shot was a longtime ago...I have those up for all of my old skater buddies to reminisce about.
Mac D. wrote:
Abdul: as you can see, the hack you had to do in the previous versions is kinda involved, and I'm pretty sure it voids the warranty. now you can do it in 2 seconds while the lens is mounted... One of the benefits of barrel rotation is the ability to shoot in vertical (portrait mode) and still have the same native tilt/shift functions. Or, of course, reversing the native functions on a normal landscape mode shot, making the tilt work horizontally and the shift work vertically.
yup, it clear now. Its a very useful feature for product photography
Peter Montanti wrote:
For me the 24TS-E is the most used for architectural and interiors. Having the 17 provides an option but only for situations where its needed, such as this classroom. I wouldn't rely on the 17, I think its a great lens but too wide for most applications.
Peter
Architectural Photography by Peter Montanti, www.mountainphotographics.com
If I were hoping to obtain some work with a particular company I sure wouldn't call them stupid paranoid idiots in a open forum anyone could read. 
