Here is an example of PS Perspective control. This rough proof was shot with a 35mm lens, FF, pointing upwards slightly. Although it is slightly tilted to the right, the steeple extreme lean is because of the pointing upwards.
Edited by Paul Kierstead on Dec 12, 2005 at 12:08 AM GMT
Edited by Paul Kierstead on Dec 12, 2005 at 12:10 AM GMT
Now here is the final one perspective corrected in PS.
This could have been done with rise on a TS-E lens, but in this case the quick grab would not have worked out anyway; you don't really have the time in this case. The result is the same in any case.
Now this shot was done with rise and tilt (in the same axis, an issue with the TS-E lens), although with a view camera not with a TS-E lens.
In this case the tilt is used to get the (very!) near railing in focus and the building in focus and the rise was used to avoid tilting the camera back and getting heavily converging verticals. I let the converge a little to make it look more natural. Without the tilt I would have had to use an extremely small aperture. With APS digita or even 35mm DOF is not the same level of problem, so this is not as severe. To successfully use the rise/tilt features you will have to use a tripod.
Yes, small movements at the lens translate into large subject movements, depending on the subject->lens->image plane ratio.
I have borrowed a friends 24 TS-E and also have the experience of it generally being hard to use on a 1DmkII for tilt, much more straight forward for shift.
Shifts for 3 shot panos work pretty well and will give a wide field of view with very little stitching fuss. With a full frame sensor and full shift you will get some vignetting, the shift extremes are marked on the lens in red.
I agree with Paul that setting focus on tilt shots is difficult to monitor, even with the larger viewfinder of the 1DII and an angle finder C. I end up focusing on the center (now that I have a split screen prism for MF) and doing a series of tilts 1 degree apart and hoping one of them works. In this regard the amount of tilt is very sensitive to the focal length.
I was able to get the table for tilt angles from my friend who did the calculations, thanks Andy!
These calculations (via Scheimpflug) assume the center of the sensor distance above the ground (first column), and the required tilt angle to keep the ground plane in focus for the 24mm, 45mm and 90mm Canon T/S lenses. First table is in mm above the ground, the second inches. As you can see at normal tripod heights, the 24 mm uses less than 1 degree of tilt while the 90mm lens uses 3 degrees. I initally found surprising the relatively small amount of tilt required by the 24mm TS while the 90 runs out of tilt capability 2 feet from the ground. . Swing angles would also be the same, assuming an imaginary vertical plane, which you want to maintain in focus.
I have the 24mm TSE and is a really good lens. Odly enough its a great lens for close up shots. For some reason its just sharper when close focused and it focuses very close. But even at infinity its still quite good.
Paul, thank you for the sample shot.
The view camera shot looks great. I wish I could see the larger file
Mike,
The small amount required by the tilt is very interesting. Can you just dial in the angle from the table instead of trying to figure it out through the viewfinder ?
Mike,
The small amount required by the tilt is very interesting. Can you just dial in the angle from the table instead of trying to figure it out through the viewfinder ?
Yes, but often the focus plane is not as easy to define as flat ground!
also it is quite easy to modify the Canon TS lenses so that tilt and shift can be in the same plane (lenses come with those two being in opposite planes). See this good tutorial by Jack Flesher http://www.outbackphoto.com/workflow/wf_42/essay.html
Mike K
As Paul says, the Canon VF does not allow critical focus, partly because the off-axis illumination is poor, and partly because DOF is not correctly presented by the fresnel screen. Old-timers with film backs used formulae or tables like the one shown by Mike. I simply bracket the focus.
Instead of Canon TS-E, my gear is a junior version of LF:
This gives me extra options, and plenty of knobs to twiddle. The setup above has a standard 50mm, reversed, to provide a 4x life-size magnification:
For tilt/shift, I switch to the CZ S-Planar 100/4 with its larger image circle. It specializes in the near-macro regime:
Picture above shows maximum movements versus no movements. Final image has maximum movements, and taken at mid-distance:
Bellows and lenses used were drawn from the Contax RTS system (now discontinued) on Canon 1Ds and D30. You can also use the equivant gear from the Nikon system with no problem, and it's more readily available. There is no bellows unit for EOS from Canon, although the new Novoflex unit is offered... any takers?
EOS20,
Follow the Nori's review in Nori's post here. He demonstrated how beautifully the 90 TS-E tilt can be used for flower macros. In Jack's article above, he seems to use the 90mm shift to get his shadow out of the frame
EOS20 wrote:
For all you 90 TS-E owners, what do you typically use your lens to shoot?
i shoot products with my TS-Es. both the 45 and 90 are very useful when shooting something reflective like the side of a car since you can shift the lens sideways to prevent your reflection from being seen in the paint. this technique is also handy when shooting the front of a building where your reflection could be seen in the glass. the 45 is more of a general purpose lens since it is considered a normal lens on FF and can swing/rise for effects not capable by any other 45~55mm lens.
Any samples from the 45 TS-E?
here is a shot of a 14L lens mount using the 45. you can see that the entire mount is in focus and starts to drop out of focus below the mount. i did it at the minimum focus distance, handheld at f/8, then cropped for composition. once you get good at using the TS-Es, handholding them isn't all that difficult. a full-frame camera helps in this case, along with a split screen. http://www.flatdraft.com/outgoing/lensmount.jpg
-erik
A remark for crop-camera-users: while shift is no problem to use, I can't really see the tilt-effects in the viewfinder! Using a FF-viewfinder is a totalöy different story and much more fun...
Another example with the 90 TS-E (shows the dreamy bokeh):
Thanks to Pondria for posting the request for info and thanks to everyone who has responded. Since buying a 5D, I've been thinking about a 45 TS-E for stitched landscapes, and occasional architecture shoots. This info and the examples have been very helpful.
I shot this with my 90 TS-E handhold af f5.6. I wanted to get the whole road in focus, but do not have a tripod with me. I always feel the perspective of a 90mm lens is closest to what my eyes see, so I choose the 90-TSE instead of a wideangle for this shot. By tilting and using fairly large aperture, I was able to get a shot that was almost what exactly in my mind.
The setup above has a standard 50mm, reversed, to provide a 4x life-size magnification:
