(Wolf Pack Stadium, University of Nevada, Reno campus)
The technique here was to use shift to capture more of the sky and less of the concrete in the near foreground without having to tilt the camera up, so that all of the vertical lines in the composition stay nice and straight. So, for comparision, if this was with a non-shift lens and shot with the camera level, the horizon would have been in the middle of the frame, the expansiveness of the clouds would have been completely cut off, and there would be a big empty space of uncompelling shadowed concrete filling the bottom of the picture.
Now technically, you could shoot with a non-shift lens and angle the camera upward, and then correct for the resulting perspective distortion with Photoshop, but this does degarde the image a little bit because you are manipulating the pixels, and it would likely be difficult to get the same composition because of cropping you'd have to apply to the image.
p.3 #7 · Your favorite 24 TSE I or II shots, please?
Goddammit Crystal, I want the pipeline, err, lens!
Seriously, I always thought that those TSE's was pretty much for architecture only, but I now realize they are awesome for just about anything wide. Superb optics AND tilt AND shift, you say. Darn, I just gotta borrow one this spring!
p.3 #12 · Your favorite 24 TSE I or II shots, please?
Peter Figen wrote:
One more portrait with the 24. I chose the 24 for the perspective and the tilt for the focus, which was done with Live View, but because the camera was on a tripod and she wasn't moving much, it worked. This is for a PR shot for the her at the Hohner booth at next weekend's NAMM music trade show in Anaheim.
Outstanding!
Great to see creative use of the TSE for a portrait, edgy perspective yet still flattering.
p.3 #13 · Your favorite 24 TSE I or II shots, please?
Photo - You have to be very careful when photographing your girlfriend. Thank you. She not only makes the accordion look great, she's one of the best players in the country.
