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#21
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No need for a tilt shift lens.
"Malcolm Stewart" wrote in message ... "Scott W" wrote in message oups.com... I have read from a number of people the LF cameras have a large But with today's panoramic tools this seems like much less of an issue. You really ought to post this in the large format ng as well. rec.photo.equipment.large-format Be kind and remind the OP to wear a flame-proof suit along. |
#22
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No need for a tilt shift lens.
"Scott W" wrote in message
oups.com... Malcolm Stewart wrote: You really ought to post this in the large format ng as well. rec.photo.equipment.large-format I thought about that but it seemed to me that would be a bit of a troll. Most of those people have no interest in digital, those who do will see the post here. Actually digital printing of LF media is very popular among that group. I would risk a guess that more than 30% of them scan, then print digitally with the number increasing all the time and that over time more and more will be manipulating the image to 'fix' LF movements errors. |
#23
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No need for a tilt shift lens.
"John A. Stovall" wrote in message
news They are very common among FF Digital shooters who do architecture and product photos. Canon make three different models. True, and they represent fine technology. However, they are such a bear to use, so fussy, so lacking in depth-of-focus (not to be confused with depth-of-field) that one has to be a saint-of-precision to use them properly. |
#25
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No need for a tilt shift lens.
In article , Lorem Ipsum
writes "John A. Stovall" wrote in message news They are very common among FF Digital shooters who do architecture and product photos. Canon make three different models. True, and they represent fine technology. However, they are such a bear to use, so fussy, so lacking in depth-of-focus (not to be confused with depth-of-field) that one has to be a saint-of-precision to use them properly. Not true - and I speak as one who takes about 15-20% of my photos using Canon TS-E lenses, mostly the 24mm, and mostly in shift-only mode. And, I suppose, therein lies the clue. If you have never used on before, they are strange. If you use them all the time, they are hardly any more tricky in shift mode than a normal lens. You simply meter with the lens centred, shift, and take. Hand-held works fine, and it takes about 2 seconds longer than "normal"*. You can use manual (which I prefer if not in a hurry) or exposure lock if speed is required. Tilt is, I agree, slightly more involved, and is probably best done on a tripod (though I have done it hand held). I think you are missing the point when you say that depth of focus is a problem. It is precisely no problem at all when using shift - it is exactly as for a normal lens. With shift, more often than not it is solving a problem, not creating it - moving the plane of focus to coincide with the shape of the subject. It does take more practice though. The major problem I have is that the focus ring can easily get moved if you are not taking care (the focus confirmation works, but the focussing is of course manual). *Would someone like to try to tell me that they can do a correction in software in 2 seconds? David -- David Littlewood |
#26
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No need for a tilt shift lens.
"Chris Brown" wrote in message
... As you point out, the effects of shift can be accomplished through resampling in a Pantools-type application. Tilt, however, is a completely different matter. Here's what you can do with tilt: http://narcissus.dyndns.org/Chris/Tilt.jpg Good old Chris - even lying on the floor after he's drained the bottles, he does his photography. (The bottle to the right is tilting in. In real life!) |
#27
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No need for a tilt shift lens.
In article , Chris Brown
writes As you point out, the effects of shift can be accomplished through resampling in a Pantools-type application. Tilt, however, is a completely different matter. Here's what you can do with tilt: http://narcissus.dyndns.org/Chris/Tilt.jpg I took that on an MPP VII 4x5 view camera using a Schneider 150mm Symmar using both front and rear-tilt. Note that the focus plane actually runs *horizontally*, parallel to the axis of the lens. This would be the way to get, say, a field of flowers in sharp focus. Another way of taking it would be to have the focal plane vertical, but at an incline, so it ran through both bottles, using horizontal-tilt instead of vertical tilt. Surely this would have been better for the bottles - if you wanted a sharp picture rather than a demonstration shot. If you took a picture with a very large depth of field, you might be able to selectively blur bits of it to try and get the same effect, but it;s going to be hard work, and for close-ups you may not be able to get the DoF in the first place. I doubt I would have been able to get both bottles in focus if I'd taken it on my 5D, even if the lens let me stop down all the way to f/32. Image details - 150mm, f/22, 1/400, 400 ISO Polaroid B&W. I could probably have got the tops looking sharp as well if I'd stopped down to f/64, but I specifically wanted something that demonstrated tilt. A man who likes Islay malt! I must say I find a little goes a long way, I normally prefer the less in-your-face flavours of mainland products. David -- David Littlewood |
#28
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No need for a tilt shift lens.
In article ,
Bob Salomon writes In article , Chris Brown wrote: I could probably have got the tops looking sharp as well if I'd stopped down to f/64 You would also have been well into diffraction with that lens at f64. Well, with any lens at f/64. -- David Littlewood |
#29
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No need for a tilt shift lens.
"Scott W" wrote in message ups.com... Here is a wide angle shot of a building using panoramic stitching, yes I know the lighting was terrible, but I think the building did not come out too bad. http://www.pbase.com/camping05/image/50543206/original It needs swing. |
#30
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No need for a tilt shift lens.
In article , David J. Littleboy
writes "Chris Brown" wrote: Bob Salomon wrote: In article , Chris Brown wrote: I could probably have got the tops looking sharp as well if I'd stopped down to f/64 You would also have been well into diffraction with that lens at f64. On a 400 ISO Polaroid, I don't think I'd care! Diffraction is roughly a 50% MTF hit at 800/(f number) and a zero MTF at 1600/(f number). For f/64, those are 12.5 and 25 lp/mm, respectively. So a 16x20 (4x, with usable detail with sharpening in the 3 to 4 lp/mm range) from a 4x5 at f/64 would look better than a 16x20 from a 5D (17x, well under 3 lp/mm (since whatever lens and f stop you use, the 5D will be well under 50% MTF at 40 lp/mm)). Try telling that to Ilya in the "When to use a smaller aperture" thread! David -- David Littlewood |
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