View allAll Photos Tagged Shift
GBrf Middleton Towers to Barnby Dun Sand Train passing Eaton Wood just South of Retford. Captured whilst testing a Mamiya 645 C 150mm lens.
8-12-14
Last minute run up to Mt Tamalpais with Maximilian Laue to shoot the sunset. Not a whole lot of color since the fog was pouring over the ridge right as the sun was setting, We were buried in fog 5 min after I took this picture.
Another night shift. 🚑🚑
Another part missed birthday
Another Fiat Ambulance. 👍
Another coffee (no cappuccino!) 🤔
Another new Paramedic (not Aussie) 😅
Another few more rows knitted by Pete.
Another fuzzy picture! 😁
Happy birthday Jill!! x
We work for Yorkshire Ambulance Service in and around the city of Sheffield in South Yorkshire.
It’s a great job and I feel very honoured to be able to help people at their point of need.
Check out the website for all sorts of info re YAS and the work we do.
www.yas.nhs.uk/our-services/emergency-ambulance-service-999/
This is one of my first attempts at using tilt shift in a photo. It was taken with my Canon G12, which has an image mode setting for it. I know it isn’t as good as a dedicated tilt shift lens, but I quite like it. What do you think?
This photo was taken in Verona, Italy, and the street scene shown here is in the eastern part of the city shot from the high wall battlements at the 14th Century Castelvecchio.
Processing this image got me thinking about the different settings on our cameras. Are some camera modes just a gimmick? Do any enthusiast or professional photographers actually use them,ever? There are a ton of image mode settings on my G12, some of which are useful, like Tilt Shift. It also has an HDR setting, which works quite well, but I’d still rather bracket myself. Then there are some like Beach, Underwater and Sepia which I never use.
Post Processing:
Single Jpeg (no option for shooting Raw when in gimmick mode)
Processed in Photomatix
Added Tonal Contrast filter in Color Efex Pro
Viewed from the second person's seat in Y164, Steamrail Victoria's D3 639 reverses back down five road towards West Block at the end of another successful trip. The D3 was chartered by the Diamond Valley Railway for a quick sprint up to Seymour and return.
Re-edit and upload March 2nd, 2026.
A breezy day in the woods around Margaret Lake.
One of my first experiments with the Abelson "select-a-scope" pinhole turret, mounted on the Intrepid 4x5. I chose a .02 inch aperature, which is roughly f/200 at 100mm focal length. Shot on some "mildly" expired Kodak E100G film.
Just a quick upload before work as I woke up earlier than I intended to and could not get back to sleep; here is a portion (not cropped or reduced from a larger image, just zoomed in more on one section of horizon rather than the sky as a whole) of the fiery, intense twilight sky last Friday night, when I knew there would be intense atmospherics due to the fact that the weather spent the entire day shifting between drizzly overcast to bright, hot sunshine!
Hope you all like it!
If you haven’t been living under a rock for the last couple of days, you would have heard that Dubai has just won the right to host the World Expo 2020, which at least from a photography point of view, will prove to be really interesting as I’m sure we will get to see even more outrageous architecture being brought to life in this desert land.
To celebrate the occasion, I wanted to post a shot of an older Dubai landmark (old here is a very loosely used word – 10-15 years is almost ancient!) and I settled for the Burj Al Arab. I took this shot during the blue hour and night photography workshop I was running for GulfPhotoPlus on Saturday and if you haven’t worked it out yet, it was shot with a 24mm tilt-shift lens that allowed me to really choose my focus point, while throwing the rest of the scene out of focus. I liked what this did to the strong lights on the left side of the frame as I think it makes them slightly less distracting.
Another place where I ended up talking quite a bit about tilt-shift lenses was at the presentation I gave to the Emirates Photography Club (EPyC) on Tuesday as the talk was focused mostly on interior photography. Proper interior photography is very difficult to do without tilt-shift lenses and although these can be very expensive, if you are really interested in this field, at least rent one for the weekend to understand how does it work. The EPyC crowd was really welcoming and we ended up having a great discussion about the challenges of being a full-time commercial photographer. Anyone is welcomed in their group so if you want to meet like-minded people with an interest in photography have a look on their Facebook page.
The newly restored Climax #9 is seen here shifting some hoppers within the Cass Yard, as she works to make up her photo freight for the day. The lettering on the new Climax is a bit curious. She was built as Moore-Keppel Co. Climax #6, and later moved to the Middlefork Railroad, also as #6. Now, she carries the Moore-Keppel lettering, but her number is her assigned Cass Scenic Railroad #9. I guess that with a Shay #6 and a Heisler #6 already on the Cass Roster, the railroad just couldn't see letting the 70-ton Climax become their 3rd #6.
This is my new shift lens. It uses a Schneider Componar 75mm f/4.5 enlarging lens on a metal lens board that slides around and is being held with magnets.
I was trying to get infinity focus but I missed the mark, so now its minimum focus is about 15 feet. But I reach infinity when fully closed.
I was asked in my last post if I had used a tilt-shift lens for effect. The answer was no, as you can't get a Hasselblad tilt-shift for less than $5,000 (and I don't have that kind of money). However, the question spurred me to remember that last year I actually constructed my own tilt-shift for my Hasselblad. It was made using the plunger cam technique, for probably less than $10.
I only put one roll through it, and this image is one of two that were good enough to keep. The problem with a Hasselblad tilt-shift is that there's no way to control aperture or focus. The aperture is the easier part, because it results from the lens you use for the tilt-shift apparatus, so you have some choice over that. But the shutter speed is basically the speed at which you can press the shutter release. My fingers are not very fast, so I'm guessing I wasn't getting anything faster than 1/15 of a second or so. And I can't seem to get much faster with a cable release. This makes for very overexposed images, especially on bright days. Still, I think the idea has merit, and I wouldn't mind giving it another go.
This, of course, is the beautiful St. John's Bridge.
from a barge!! (unseen on the right) at Harbour Exchange, Isle of Dogs.
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Some of the young folks might think it was crazy to reach down to shift. But heck, you can pull out your phone and document the act...
Bolton is still served by Stagecoach, Arriva and Transdev. But the once dominant operator First Bus has gone and been replaced locally by smaller upstarts like Diamond and Vision. When I was up there in the autumn I hoped I might also see a Go-Ahead bus but was nonetheless pleasantly surprised instead to see what looked like an off-route First Vantage Wright Streetdeck.heading towards the interchange.