This should be set while observing through the viewfinder since the effect is extremely difficult to predict. The third degree to set is the tilt angle. For architecture, horizontal can make an entire fence in focus for example. In the case of the books above, a horizontal tilt is used. A vertical tilt is tilts the focus plane away or towards the camera. This determines the orientation of the focus plane around the optical axis. The second degree of freedom to set should be the rotation between the shift and tilt. Still it eventually works as illustrated in this example which used a 30° angle from horizontal. Keep the shift plane at an angle is also possible and correct both but since motion is becomes related you have to keep repositioning the camera which gets annoying. A vertical shift is good to avoid converging verticals and a horizontal shift for converging horizontals. It controls in which direction the shift will occur. The first degree to set should be the rotation of the entire lens. This is important because once the lens is tilted or shifted, metering no longer works properly and can under-expose by over 3 stops.
CANON TS E 17MM MANUAL
Adjust to taste and dial those in Manual mode. To do that, point the camera at the subject with the lens in normal position and take a reading.
However, before starting to setup the lens, you must meter the scene. Therefore, focus should really be set last among all 5 degrees of freedom. One thing learned early on with the TS-E 17mm is that focus changes with just about any change. This allows the direction of tilt and shift to be changed relative to each other. The second is another rotation between the tilt and shift component. One is the lens angle which can be rotated entirely around its optical axis. Now, because the effect of tilt and shift are direction dependent, Canon offers 2 additional controls on their TS-E lenses. Tilt and shift have to be controlled manually and so does focus. Tilt-shift lenses are completely manual except for aperture control which is done by the camera. Another member confirmed this is also the case for the Canon TS-E 24mm F/3.5 lens. One artifact which may be limited to some tilt-shift lenses is that changing tilt cause a shift of the angle-of-view. At the other extreme, the depth-of-field appears extremely shallow because the focus plane is tilted away from the books. Note thatf at one point, the plane of focus coincides with the angle of the book faces. To illustrate what happens as the lens is shifted, here is a demo of the lens being shifted in 1° intervals.
In the case of the TS-E 17mm F/4, the tilt-angle moves ☖.5°. It is hard to conceive and results are sometimes surprising since the plane of focus tilts by an angle which depends on the focal-length, focus-distance and tilt-angle as illustrated in the answer to this question. Specifically, everything in focus still lies on a plane by that plane is no longer parallel to the camera sensor. By tilting the focus plane, this no longer holds. With a normal lens, the focus plane is always parallel to the camera, meaning that everything at a certain distance is in focus. The tilt feature allows to tilt the lens to an angle relative to the camera. The shift feature is extremely useful of architecture photography where it is important to keep the geometry of buildings looking real. This avoids converging verticals, as seen on the right, because the camera is still level, only the lens has moved up. With a tilt-shift lens, there is another possibility meant exactly for this situation: Simply shift the lens upwards. While we no longer see the cough, the room shows some severe perspective distortion, also known as converging verticals. The result is what you see in the middle. With a normal lens, all it takes is to tilt the camera up. Now suppose that the couch near the camera was glued to the floor (it feels that way at least) but I wanted an unobstructed view of the window. Just below on the left is an image taken with the camera level and the lens in its unshifted position. To show what his means, lets start with the shift and my living room. It is possible to have lenses which does one or the other but the major lens makers don’t make such thing. Tilt-Shift BasicsĪ tilt-shift lens, as obvious as it may seem is a lens which can both tilt and shift.
It is also one of the most complex lenses to control since it has 5 inter-related degrees of freedom. Thanks to the Gear Lending Library, I got the chance to try a tilt-shift lens for the first time. Considering myself a wide-angle shooter, I decided to go with the Canon TS-E 17mm F/4 which is the widest tilt-shift lens currently in production.
0 kommentar(er)
