Tilt-Shift solution
p.2 #1Tilt-Shift solution
DtEW wrote:
Does anybody have experience using the Kipon Shift EF-SE to bridge EF-mount lenses (specifically Samyangs) to an FE Sony?
I am assuming that the Samyangs' image circle won't be large enough to cover the FE Sony sensor when shifted, so a lot of cropping will be necessary.
You are correct. Applying any movements to a typical EF-mount lens will require cropping. Purpose built lenses like the Canon TS-E have a larger image circle to allow for movements. Shifting and cropping an ordinary lens gets you to about the same place as just shooting an ultra wide native E-mount lens and cropping the output. For wide angle work, tilt isn't really a factor. So simply shooting a native Sony 12 or 14mm lens and heavily cropping the image often gives you better results with much less effort compared to adapting older SLR lenses.
Does anybody have experience using the Kipon Shift EF-SE to bridge EF-mount lenses (specifically Samyangs) to an FE Sony?
I am assuming that the Samyangs' image circle won't be large enough to cover the FE Sony sensor when shifted, so a lot of cropping will be necessary.
You are correct. Applying any movements to a typical EF-mount lens will require cropping. Purpose built lenses like the Canon TS-E have a larger image circle to allow for movements. Shifting and cropping an ordinary lens gets you to about the same place as just shooting an ultra wide native E-mount lens and cropping the output. For wide angle work, tilt isn't really a factor. So simply shooting a native Sony 12 or 14mm lens and heavily cropping the image often gives you better results with much less effort compared to adapting older SLR lenses.
Jul 23, 2026 at 09:44 AM
p.2 #2Tilt-Shift solution
JohnJ wrote:
I use a Canon TSE17 on a Sigma MC11 adapter on Sony bodies and love it. It might be too wide however, and filter use is problematic (to say the least).
Haida made a simple twist on holder, which I still use but cannot find on their website. I find f11 works best with my TS-E17L and 5DSR.
I use a Canon TSE17 on a Sigma MC11 adapter on Sony bodies and love it. It might be too wide however, and filter use is problematic (to say the least).
Haida made a simple twist on holder, which I still use but cannot find on their website. I find f11 works best with my TS-E17L and 5DSR.
Jul 23, 2026 at 10:11 AM
p.2 #3Tilt-Shift solution
gdanmitchell wrote:
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.
Example of critical keystone correction applied manually:
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.
Example of critical keystone correction applied manually:
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
Jul 23, 2026 at 10:27 AM
p.2 #4Tilt-Shift solution
DtEW wrote:
Does anybody have experience using the Kipon Shift EF-SE to bridge EF-mount lenses (specifically Samyangs) to an FE Sony?
I am assuming that the Samyangs' image circle won't be large enough to cover the FE Sony sensor when shifted, so a lot of cropping will be necessary.
I had the Kipon t/s adapter Hasselblad V to Sony E lens mount adapter. It was a solid piece and well built and certainly capable of holding the heavy Hasselblad legacy lenses. I ended up selling the adapter and the H lenses. H lenses while still being expensive, were not providing me with superior image quality I thought I would get. Moreover, I wasn't using this t/s system professionally so didn't want to carry the weight and bulk with me. I preferred a lighter and more compact solution hence the Laowa shift lens.
I currently own a Fotodiox t/s EF to E lens mount adapter. It is also very well built:
on Flickr
Edited on Jul 24, 2026 at 08:02 AM · View previous versions
Does anybody have experience using the Kipon Shift EF-SE to bridge EF-mount lenses (specifically Samyangs) to an FE Sony?
I am assuming that the Samyangs' image circle won't be large enough to cover the FE Sony sensor when shifted, so a lot of cropping will be necessary.
I had the Kipon t/s adapter Hasselblad V to Sony E lens mount adapter. It was a solid piece and well built and certainly capable of holding the heavy Hasselblad legacy lenses. I ended up selling the adapter and the H lenses. H lenses while still being expensive, were not providing me with superior image quality I thought I would get. Moreover, I wasn't using this t/s system professionally so didn't want to carry the weight and bulk with me. I preferred a lighter and more compact solution hence the Laowa shift lens.
I currently own a Fotodiox t/s EF to E lens mount adapter. It is also very well built:
on Flickr
Edited on Jul 24, 2026 at 08:02 AM · View previous versions
Jul 23, 2026 at 11:17 AM
p.2 #5Tilt-Shift solution
gdanmitchell wrote:
I may be missing something but I don’t see an adapter that allows the use of the Pentax MF lenses on the Sony mount…
Which mount? M42 you can get from either Kipon or Fotodiox. 645 and 67 are special orders from Fotodiox. I don't think either of them make K anymore.
freaklikeme wrote
Kipon makes T&S adapters for most mounts that use the same mechanism types as the Mirex. Fotodiox makes a smaller selection.Which mount? M42 you can get from either Kipon or Fotodiox. 645 and 67 are special orders from Fotodiox. I don't think either of them make K anymore.
Jul 23, 2026 at 12:07 PM
p.2 #6Tilt-Shift solution
rico wrote:
Example of critical keystone correction applied manually:
https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
If 16MP is sufficient, would it not be easier to forget about shift, instead shoot use an even wider lens horizontally (to avoid falling angles) and crop?
gdanmitchell wrote
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
If 16MP is sufficient, would it not be easier to forget about shift, instead shoot use an even wider lens horizontally (to avoid falling angles) and crop?
Jul 23, 2026 at 12:20 PM
|
p.2 #7Tilt-Shift solution
Daran wrote:
Example of critical keystone correction applied manually:
https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.If 16MP is sufficient, would it not be easier to forget about shift, instead shoot use an even wider lens horizontally (to avoid falling angles) and crop?
Usually, you cannot get high enough to shoot level with a wider lens, so the tradeoff is to shoot as loose and as close to level as practical while framing to allow an appropriate crop after the correction in post.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing, and rely on this fill feature to generate the missing image sections.
Here's a quick and simple example. After fill, you can see the lady's umbrella lower left is wonky but it did a remarkable job with the building, even carrying on the actual angle it had to the side being filled. I suspect I could have brushed over the umbrella a few times for different iterations and find one better. And I don't know if the lamp stand on the right had a base like that, but it's incredibly believable
IMO this is a pretty remarkable tool.
Original capture
Full frame after perspective correction in ACR
ACR's first attempt at generative fill for the blank areas. Note how well it did with virtually zero image data there.
rico wrote
gdanmitchell wrote
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
Usually, you cannot get high enough to shoot level with a wider lens, so the tradeoff is to shoot as loose and as close to level as practical while framing to allow an appropriate crop after the correction in post.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing, and rely on this fill feature to generate the missing image sections.
Here's a quick and simple example. After fill, you can see the lady's umbrella lower left is wonky but it did a remarkable job with the building, even carrying on the actual angle it had to the side being filled. I suspect I could have brushed over the umbrella a few times for different iterations and find one better. And I don't know if the lamp stand on the right had a base like that, but it's incredibly believable
IMO this is a pretty remarkable tool. Original capture
Full frame after perspective correction in ACR
ACR's first attempt at generative fill for the blank areas. Note how well it did with virtually zero image data there.
Jul 23, 2026 at 01:00 PM
p.2 #8Tilt-Shift solution
Canon TS-E 24mm F3.5 II L or Laowa 20mm F4 (second one is shift only).
Personally I use Laowa shift 15mm (together with this 24mm Canon TS-E and Rokkor Shift 35mm) and despite laowas is much wider (too wide for many uses) prefer it cause it suits me better mechanically. I have not much use for tilt and eventually would 'upgrade' this 24mm for 20mm too (I choose 15mm Laowa instead of Canon 17mm shift five years ago, having some experience with it).
So, there is not many options (Nikon's and Samyang's 24mm is significantly worse).
You can check it there
https://www.flickr.com/photos/qwz/tags/laowa15wdreamer/
but for last year or too I keep foretting a proper tag for it on my uploads.
Personally I use Laowa shift 15mm (together with this 24mm Canon TS-E and Rokkor Shift 35mm) and despite laowas is much wider (too wide for many uses) prefer it cause it suits me better mechanically. I have not much use for tilt and eventually would 'upgrade' this 24mm for 20mm too (I choose 15mm Laowa instead of Canon 17mm shift five years ago, having some experience with it).
So, there is not many options (Nikon's and Samyang's 24mm is significantly worse).
You can check it there
https://www.flickr.com/photos/qwz/tags/laowa15wdreamer/
but for last year or too I keep foretting a proper tag for it on my uploads.
Aug 05, 2026 at 01:16 PM
p.2 #9Tilt-Shift solution
Jack Flesher wrote:
Example of critical keystone correction applied manually:
https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.If 16MP is sufficient, would it not be easier to forget about shift, instead shoot use an even wider lens horizontally (to avoid falling angles) and crop?Usually, you cannot get high enough to shoot level with a wider lens, so the tradeoff is to shoot as loose and as close to level as practical while framing to allow an appropriate crop after the correction in post.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing,...Show more →
This is fine Jack, but I make photographs that reflect my experience of a place and time not Firefly's
Daran wrote
rico wrote
gdanmitchell wrote
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing,...Show more →
This is fine Jack, but I make photographs that reflect my experience of a place and time not Firefly's
Aug 06, 2026 at 04:29 AM
p.2 #10Tilt-Shift solution
guidostow wrote:
Example of critical keystone correction applied manually:
https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.If 16MP is sufficient, would it not be easier to forget about shift, instead shoot use an even wider lens horizontally (to avoid falling angles) and crop?Usually, you cannot get high enough to shoot level with a wider lens, so the tradeoff is to shoot as loose and as close to level as practical while framing to allow an appropriate crop after the correction in post.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing, and rely on this fill feature to generate the missing image sections.
Here's a quick and simple example. After fill, you can see the lady's umbrella lower left is wonky but it did a remarkable job with the building, even carrying on the actual angle it had to the side being filled. I suspect I could have brushed over the umbrella a few times for different iterations and find one better. And I don't know if the lamp stand on the right had a base like that, but it's incredibly believable IMO this is a pretty remarkable tool.This is fine Jack, but I make photographs that reflect my experience of a place and time not Firefly's
I 100% get that. But keep in mind I’m not suggesting adding fake skies, it’s more like cloning what’s already nearby to fill in irrelevant edge and corner gaps in order to fill out the frame.
Each to their own and if you’re all about capturing it all in camera at the shutter release, then yes tilt and shift are your friends. I am now curious though where you draw the line? Are filters acceptable? Cropping after the fact? Dodge and burn? Dust spot removal? Shadow and highlight control? I assume stitching for pano or stacking for focus or HDR must also be out?
Jack Flesher wrote
Daran wrote
rico wrote
gdanmitchell wrote
It is actually amazing how much perspective correction one can do in post and still retain excellent image quality.https://makino.fi/rico/nikon/misc/ryancenter1.jpg
Nikon D4, 28E, handheld. The modest 16MP is sufficient for my purpose even when the bottom 1/3 of the image (grass) is pitched. And, yes, the angles on that building are real—architects are crazy that way.
The recent however—but is ACR just added a “generative fill” feature. I’ve used after a mild geometric change that causes the rectangular frame to expand beyond image boundaries and it’s pretty remarkable. Not perfect, but you can give it a few iterations and get excellent “fill” results. Theoretically this will allow us to shoot pointed up with tighter framing, and rely on this fill feature to generate the missing image sections.
Here's a quick and simple example. After fill, you can see the lady's umbrella lower left is wonky but it did a remarkable job with the building, even carrying on the actual angle it had to the side being filled. I suspect I could have brushed over the umbrella a few times for different iterations and find one better. And I don't know if the lamp stand on the right had a base like that, but it's incredibly believable
IMO this is a pretty remarkable tool.I 100% get that. But keep in mind I’m not suggesting adding fake skies, it’s more like cloning what’s already nearby to fill in irrelevant edge and corner gaps in order to fill out the frame.
Each to their own and if you’re all about capturing it all in camera at the shutter release, then yes tilt and shift are your friends. I am now curious though where you draw the line? Are filters acceptable? Cropping after the fact? Dodge and burn? Dust spot removal? Shadow and highlight control? I assume stitching for pano or stacking for focus or HDR must also be out?
Aug 06, 2026 at 08:51 AM
p.2 #11Tilt-Shift solution
If the corners are irrelevant why bother to fill them?
I have no issues with the digital equivalent of the sophisticated darkroom techniques I have used for 60 years, all of ACR's non-generative single image tonal controls are just fine. I did large format (mostly 8"x20") for a long time so with small cameras pano stitching an important tool, at least until a vendor comes out with a 8x20 aspect ratio sensor... Neutral density single strength and graduated have been central to the color game for ages so they are fine too, correcting in camera at exposure time is way preferable to hdr.
These techniques are used to bring the image to express what I felt and experienced when I took the exposure. No generative ai can create that.
I have no issues with the digital equivalent of the sophisticated darkroom techniques I have used for 60 years, all of ACR's non-generative single image tonal controls are just fine. I did large format (mostly 8"x20") for a long time so with small cameras pano stitching an important tool, at least until a vendor comes out with a 8x20 aspect ratio sensor... Neutral density single strength and graduated have been central to the color game for ages so they are fine too, correcting in camera at exposure time is way preferable to hdr.
These techniques are used to bring the image to express what I felt and experienced when I took the exposure. No generative ai can create that.
Aug 06, 2026 at 01:45 PM