From a purely practical point of view, I also find it very difficult to judge how much pixel real estate I need to have around a subject that will need its verticals corrected in post. I just gave up on an image I made using my Fuji 35/2. Not only was the shape of the subject badly distorted by the time I had the verticals sorted out, but also I hadn't left enough space around the subject so I couldn't preserve it in the composition and straighten the verticals. Had I left enough space, the resulting file would have not been printable at the size I wanted due to all the wasted pixels.
Two of these problems (composition errors and loss of resolution when correcting verticals) can be avoided by using a higher MP sensor with a lot more resolution, but the distortion resulting from extreme vertical correction could not. So for me, a tilt-shift adapter on my Fuji X-T2 gives me the flexibility and mobility I want, plus the ability to sort out these kinds of issues in camera.
Two quick examples of flexibility and mobility: In the first one, I'm waiting on the sidewalk for my family to come out of a clothing store and notice the light on the Dominion Square Building. In the second one, we're running for the train and I see the ugly Place Bonaventure building in shadow under a shiny new office tower. No time for a tripod in either case, but plenty of time for a quick 8mm rise on the shift adapter and a few frames to get the light and relationships I'm looking for with my OM 100/2.8. I had to fine tune a bit in Lightroom in both cases (a touch of rotation because I wasn't quite level) -- but the 24MP Fuji sensor leaves me with plenty of pixels to print these at 17"x25" and keep the nice details.
Audii-Dudii wrote: rdeloe wrote:
In the third image I could of course have corrected the converging verticals in post -- but I prefer to get the composition right in camera, and to not give up any pixels. A shift adapter lets me do that.
Indeed, it does!
And a shift adapter also allows the plane of focus to remain perfectly perpendicular, whereas tilting the camera upward to include the top of a building and then correcting the perspective during post-processing results in a plane of focus that's angled, which may or may not be an issue and/or affect the final image quality.
As you say, it's best just to get everything correct in-camera whenever possible!
From a purely practical point of view, I also find it very difficult to judge how much pixel real estate I need to have around a subject that will need its verticals corrected in post. I just gave up on an image I made using my Fuji 35/2. Not only was the shape of the subject badly distorted by the time I had the verticals sorted out, but also I hadn't left enough space around the subject so I couldn't preserve it in the composition and straighten the verticals. Had I left enough space, the resulting file would have not been printable at the size I wanted due to all the wasted pixels.
Two of these problems (composition errors and loss of resolution when correcting verticals) can be avoided by using a higher MP sensor with a lot more resolution, but the distortion resulting from extreme vertical correction could not. So for me, a tilt-shift adapter on my Fuji X-T2 gives me the flexibility and mobility I want, plus the ability to sort out these kinds of issues in camera.
Two quick examples of flexibility and mobility: In the first one, I'm waiting on the sidewalk for my family to come out of a clothing store and notice the light on the Dominion Square Building. In the second one, we're running for the train and I see the ugly Place Bonaventure building in shadow under a shiny new office tower. No time for a tripod in either case, but plenty of time for a quick 8mm rise on the shift adapter and a few frames to get the light and relationships I'm looking for with my OM 100/2.8. I had to fine tune a bit in Lightroom in both cases (a touch of rotation because I wasn't quite level) -- but the 24MP Fuji sensor leaves me with plenty of pixels to print these at 17"x25" and keep the nice details.
Audii-Dudii wrote: rdeloe wrote:
In the third image I could of course have corrected the converging verticals in post -- but I prefer to get the composition right in camera, and to not give up any pixels. A shift adapter lets me do that.
Indeed, it does!
And a shift adapter also allows the plane of focus to remain perfectly perpendicular, whereas tilting the camera upward to include the top of a building and then correcting the perspective during post-processing results in a plane of focus that's angled, which may or may not be an issue and/or affect the final image quality.
As you say, it's best just to get everything correct in-camera whenever possible!
From a purely practical point of view, I also find it very difficult to judge how much pixel real estate I need to have around a subject that will need its verticals corrected in post. I just gave up on an image I made using my Fuji 35/2. Not only was the shape of the subject badly distorted by the time I had the verticals sorted out, but also I hadn't left enough space around the subject so I couldn't preserve it in the composition and straighten the verticals. Had I left enough space, the resulting file would have not been printable at the size I wanted due to all the wasted pixels.
Two of these problems (composition errors and loss of resolution when correcting verticals) can be avoided by using a higher MP sensor with a lot more resolution, but the distortion resulting from extreme vertical correction could not. So for me, a tilt-shift adapter on my Fuji X-T2 gives me the flexibility and mobility I want, plus the ability to sort out these kinds of issues in camera.
Two quick examples of flexibility and mobility: In the first one, I'm waiting on the sidewalk for my family to come out of a clothing store and notice the light on the Dominion Square Building. In the second one, we're running for the train and I see the ugly Place Bonaventure building in shadow under a shiny new office tower. No time for a tripod in either case, but plenty of time for a quick 8mm rise on the shift adapter and a few frames to get the light and relationships I'm looking for with my OM 100/2.8. I had to fine tune a bit in Lightroom in both cases (a touch of rotation because I wasn't quite level) -- but the 24MP Fuji sensor leaves me with plenty of pixels to print these at 17"x25" and keep the nice details.
Audii-Dudii wrote: rdeloe wrote:
In the third image I could of course have corrected the converging verticals in post -- but I prefer to get the composition right in camera, and to not give up any pixels. A shift adapter lets me do that.
Indeed, it does!
And a shift adapter also allows the plane of focus to remain perfectly perpendicular, whereas tilting the camera upward to include the top of a building and then correcting the perspective during post-processing results in a plane of focus that's angled, which may or may not be an issue and/or affect the final image quality.
As you say, it's best just to get everything correct in-camera whenever possible!
Aug 04, 2017 at 09:14 PM
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