View allAll Photos Tagged tilt_shift
A fake tilt-shift to make this photo appear to be of a miniature model. The original can be seen here. My first somewhat successful attempt at fake tilt-shifting.
My first break in photography was for the in-flight magazine of Japan’s All Nippon Airways. After the publication was printed, I would scour the pages and admire the work of other photographers, inevitably pausing when I saw a uniquely framed shot of a stunning Japanese landscape spread across two pages. I often couldn’t tell if it was a toy model or the real deal. This was before I fully understood the art of tilt-shift photography. But once I did, I made myself a promise: One day, I would use a tilt-shift lens to photograph iconic areas in Las Vegas.
It took more than five years, but last month I finally fulfilled that promise. After securing a ride with Sundance Helicopters, I consulted Google Earth to plan the route, selecting prominent areas of the Valley: the Strip (of course), Lake Las Vegas, Red Rock, Nellis Air Force Base, Las Vegas Motor Speedway, etc. Not that I had final say on the locations—we were at the mercy of the Federal Aviation Administration’s approval.
I did, however, choose our departure time. Because shadows are crucial to this type of aerial photography, there were only two ideal options: early morning or late afternoon. We opted for a 4 p.m. takeoff, and as soon as the helicopter lifted off the pad, it dawned on me that the only thing keeping me inside the doorless aircraft was my seatbelt—which sounds obvious, yet the realization still causes your pulse to race.
Perhaps to test my alertness—or my bladder control—the pilot’s first maneuver was to bank hard to the right to head north on the Strip. When he did, I was literally facing the ground. It was both awesome and frightening. Then my inner photographer kicked in and I started clicking away.
We did a couple of runs up and down the Strip, then headed toward Nellis and the speedway. From there, we went to Red Rock, which was the only place I had difficulty shooting—because the topography looked different from the air, I just couldn’t get my bearings. Another challenge: waiting for the Bellagio Fountains show to begin—I think we hovered above the Cromwell for about seven minutes. A split second after we decided to leave, the show started, and the pilot made a sharp turn so I could get the shot.
By the time our two-hour adventure across the Valley ended, I had taken more than 2,000 photographs. My editor and I then narrowed 2,000 down to 200, eventually settling on the seven images that you see on these pages
Of course, now that I’ve scratched one city off my tilt-shift photography bucket list, it’s time to add another: Next stop, Dubai!
A Tilt Shift modification to the 5 layer merge photo of the Indiana Jones Entrance. Just having some fun in the editing process.
Wonderful Island Capri in the mediteranian sea. Funny tilt-shift manipulation. Our hotel was the red one right side at the sea.
Tilt shift photographs create an optical illusion that makes scenes appear as if they are actually miniature models. The outer edges are blurred which tricks the eye into perceiving everything in the unblurred parts as miniature.
What is it about these tilt shifts that I find them endlessly fascinating. Really, I will never tire of them.
I spend a significant portion of my day staring at mappy data visualizations. I’d like to be able to rub my eyes and see them all tilt shifted –by making them look fake, they look more real. They induce a mesmerizing cocktail of aesthetic charm, a healthy perspective of universal scale, art history, pop-psychology, a cognitive puzzle, a sense of urgency, and warm notions of Mr. Rogers’ Neighborhood.
Tilt shift actually refers to the optical technique of the actual photographic process, but you can fake it digitally after the fact using regular old aerial imagery from any online map. Here’s how…
this photo was taken about a year ago. i was on the Skybridge KLCC.
tried to fake this photo to get the miniature effect like tilt shift lenses do.
so..how is it?
This is a picture of a football field that I flew over whilst I was in a Microlight. The shutter speed was set at 1/500s and the aperture was set to f/5.6. I managed to recreate this without the fancy Tilt-Shift lens.
Port Appin, Argyll, Scotland (United Kingdom).
The name 'Stalker' comes from the Gaelic Stalcaire, meaning 'hunter' or 'falconer'. In recent times the castle was brought to fame by the Monty Python team, appearing in their film Monty Python and the Holy Grail. It also appeared in the film Highlander: Endgame. The Castle's almost exaggeratedly picturesque appearance, with its island setting against a backdrop of mountains, has made it a favourite subject for post-cards and calenders, and something of a cliché image of Scottish Highland scenery. It should be noted, however, that Stalker's appearance is entirely authentic, and it is one of the best-preserved medieval tower-houses surviving in western Scotland.
The site is similar to the prehistoric crannogs, but the official web-site history page gives the origin of the castle as being a small fort built around 1320 by Clan MacDougall who were then Lords of Lorn. Around 1388 the Stewarts took over the Lordship of Lorn, and it is believed that they built the castle in its present form around the 1440s. The web-site tells a dramatic story of arguments, murders, hunting visits by the Stewart's relative King James IV of Scotland and a drunken bet around 1620 resulting in the castle passing to Clan Campbell. After changing hands between these clans a couple of times the Campbells finally abandoned the castle around 1840, when it lost its roof. Then in 1908 a Stewart bought the castle and carried out basic conservation work, and in 1965 Lt. Col. D. R. Stewart Allward acquired the castle and over about ten years fully restored it.
More info: en.wikipedia.org/wiki/Castle_Stalker
While all of these images are unretouched from the NeinGrenze 5000T tilt-shift camera, this one was captured with the camera in "vivid" color mode.
My first break in photography was for the in-flight magazine of Japan’s All Nippon Airways. After the publication was printed, I would scour the pages and admire the work of other photographers, inevitably pausing when I saw a uniquely framed shot of a stunning Japanese landscape spread across two pages. I often couldn’t tell if it was a toy model or the real deal. This was before I fully understood the art of tilt-shift photography. But once I did, I made myself a promise: One day, I would use a tilt-shift lens to photograph iconic areas in Las Vegas.
It took more than five years, but last month I finally fulfilled that promise. After securing a ride with Sundance Helicopters, I consulted Google Earth to plan the route, selecting prominent areas of the Valley: the Strip (of course), Lake Las Vegas, Red Rock, Nellis Air Force Base, Las Vegas Motor Speedway, etc. Not that I had final say on the locations—we were at the mercy of the Federal Aviation Administration’s approval.
I did, however, choose our departure time. Because shadows are crucial to this type of aerial photography, there were only two ideal options: early morning or late afternoon. We opted for a 4 p.m. takeoff, and as soon as the helicopter lifted off the pad, it dawned on me that the only thing keeping me inside the doorless aircraft was my seatbelt—which sounds obvious, yet the realization still causes your pulse to race.
Perhaps to test my alertness—or my bladder control—the pilot’s first maneuver was to bank hard to the right to head north on the Strip. When he did, I was literally facing the ground. It was both awesome and frightening. Then my inner photographer kicked in and I started clicking away.
We did a couple of runs up and down the Strip, then headed toward Nellis and the speedway. From there, we went to Red Rock, which was the only place I had difficulty shooting—because the topography looked different from the air, I just couldn’t get my bearings. Another challenge: waiting for the Bellagio Fountains show to begin—I think we hovered above the Cromwell for about seven minutes. A split second after we decided to leave, the show started, and the pilot made a sharp turn so I could get the shot.
By the time our two-hour adventure across the Valley ended, I had taken more than 2,000 photographs. My editor and I then narrowed 2,000 down to 200, eventually settling on the seven images that you see on these pages
Of course, now that I’ve scratched one city off my tilt-shift photography bucket list, it’s time to add another: Next stop, Dubai!