The best way to do this is to shoot with a wider angle lens, as mentioned above. At the end of the day though, I don’t consider these issues significant by any means – you could get away with just shooting a little wider.įor the second comparison, I wanted to see if you could overcome the crop factor issues. Your 24mm lens isn’t necessarily going to give the angle of view of a 24mm lens. Essentially if you’re not using a tilt-shift lens and you require corrections in post then you have somewhat of a crop factor to contend with. The angle of view is also slightly different which is to be expected when you’re required to crop files. If you were shooting with a lower resolution camera, then losing almost half the megapixels could cause a few issues. If resolution is important to you then this may not be ideal but honestly for most people even a 29mp file is more than enough. The original file was 50mp but after the corrections were applied I had to crop into the image and this this left me with a 29mp file. There a few issues though: for example, the image has lost almost half the resolution. The correction applied to this image really works. Now that I’ve corrected the non-shifted image it actually doesn’t look that bad, in-fact it actually looks pretty good. This precisely what you’d expect to see if you tilt the camera. The building also looks smaller and looks as though it’s falling backward. Also, you’ll notice how the first image is now stretched awkwardly with a greater emphasis given to the bottom section of the frame. There are some clear differences between both images, for one, there’s a yellow boat in the shifted image. I feel like if they trimmed back some of the trees and bushes the building might look a little bigger. Obviously, it’s difficult to have the same composition for both shots but I tried to keep things as close as possible. This allowed me to photograph the building and keep all the vertical lines correct and true. The second image was shot with the camera leveled correctly and the shift feature from the lens applied. To compare both methods, the first image I took was shot without any shift applied and I simply tilted the camera up to see more of the building. It’s probably the best 24mm lens ever made I think Mike agrees, too… am I coming across biased at all? The image quality is superb and the control you have to correct perspective is invaluable. This is my go-to lens for a number of reasons. The features in camera raw are basically identical so I hope this doesn’t become a point of contention.įor the first comparison, I shot both images with the Canon T-SE 24mm f/3.5L II lens and the Canon 5DSR. Now the title of this article says Photoshop, but I used Lightroom too. Maybe I’m just being snobby, so let’s find out how both methods compare to one another. One vital note - because of the combination of adapters and tolerances associated with each, the lens didn't initially focus to infinity - however, by removing the mounting-plate on the front of the shift-adapter and accurately filing away (by hand) about 0.25mm of metal, the combination now works and focuses to infinity.Ī great set-up for architectural photography, at a fraction of the cost of a full-frame Canon shift-lens set up.Tilt-shift lenses are by far my favorite types of lenses they offer so much versatility, especially when you’re shooting architecture… I wouldn’t shoot with any other type of lens! However, up until recently I had never actually compared the results you can produce with a dedicated tilt-shift lens vs correcting distortion from a conventional lens in post. This also means ALL of my Olympus OM mount lenses are now shift lenses too. I have corrected in post for barrel distortion only. Sample shot below, taken at f8 with 6mm of vertical shift - the 17mm lens gives a focal-length equivalent of about 26mm - perfect for architecture. The whole arrangement works superbly, and delivers sharp shots - the full 10mm of shift can be used as the lens is designed for full-frame. 2mm thick), mounted to a Canon EOS-to-MicroFourThirds shift adapter (10mm shift / rotatable), mounted to a MicroFourThirds-to-NEX adapter (also about 2mm thick). What you see here is the Tokina lens (OM Mount) mounted to an OM-to-Canon EOS adapter (approx. I successfully use a Tokina 17mm RMC lens (even Ken Rockwell likes this one), mounted to the NEX7 via three adapters - one of them a shift adapter.
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