View allAll Photos Tagged tilt_shift
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!
Tilt-shift Miniature Fake, Bangkok, Thailand
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I re-edited miniature fake photos; because, after uploading the last set, I thought they looked too high contrast and too much vivid color. I need more light and soft retouch... Anyway, still under process of trial and error.
Okay, I couldn't resist the tilt-shift meme. They seem to work best with landscapes, and I normally shoot portraits, but I thought this one might be fun.
I have been experimenting tilt effect with Nikon 85mm f/2.8 PC-E tilt shift lens. You can see the tilt effect in these photos.
Been playing with Pseudo-Tilt-Shift lens photography.. actually there's no tilt here since you need a real tilt shift lens to do that.
Pseudo and not Fake because instead of doing perspective correction in photoshop i used a ultrawide angle lens (12mm) and extracted a 24mm equivalent crop out of it. Luckily the 5d2 resolution is enough to end up with an image which is roughly 8 Mpixels in size...
This process is actually what happens optically on shift lenses, the difference is you retain your full pixel count and you can actually see the result while framing instead of having to picture it in your head and crop it afterward.. I guess there's a reason why you pay those lenses an eye and a half...
More info here in this discussion
epfl, lausanne
Foto tirada em Fernando de Noronha utilizada a técnica de tilt-shift para criar a noção de miniatura.
Tilt-shift Fernando de Noronha de Cristiano Peçanha é licenciado sob uma Licença Creative Commons Atribuição-Uso não-comercial-Compartilhamento pela mesma licença 3.0 Unported.
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 fake of Falmouth Docks in Cornwall.
The tilt shift was done using Photoshop
Mogelijkheden van een tilt shift objectief
Links boven = standaard; scherpstelvlak is evenwijdig aan sensorvlak
Rechts boven = tilt omlaag; scherpstelvlak bijna evenwijdig aan horizontaal vlak
Links onder = tilt omhoog en rotatie rechts; scherpstelvlak over de 3 en 9 van de wijzerplaat
Rechts onder: tilt omhoog en rotatie naar links; scherpstelvlak over de 1 en de 6 van de wijzerplaat
Alle opnamen met minimale scherptediepte; 24mm brandpunt f/3,5, minimale scherpstelafstand van 21cm
First chance I've had to try out the Canon TS-E 24mm II. I just took it for a walk around Edinburgh. It's going to take a lot of getting used too on a 35mm body. I find it really hard to manual focus through a small viewfinder, but at least with the 5d Mrk II the viewfinder is a little larger than normal.
I've shot a fair amount of 5x4 stuff over the years so I'm used to working my way around the movements to get this effect. It's a total gimmick and not what the lens is meant for, but looks lovely nonetheless. Hopefully get a chance over the weekend to take it up into the hills, or around Arthur's Seat at least.
Website: www.alexispeacehall.com
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!
For the Magicshopping Wonder Space group.
I'm totally going to get a tilt-shift lens for my Hassie. You can do totally awesome effects like this, where it looks like everything's really small and fake even though it isn't. I think it has something to do with focal lengths..
And thanks for pointing out the missing watermark. It really sucks when you open a magazine or a web site and see one of your own images in there that they totally just ripped off and didn't give you any royalties or residurals.
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Alright, so I don’t yet have my homemade cherry wood pinhole camera totally completed for test shots… just waiting for final gluing to cure after I needed to make a few last minute adjustments last night and very early this morning. But after Steven asked a bit about my plans for my future (and much more ambitious plans) to eventually build a tilt-shift camera… I figured maybe it is time to upload a few sample images of what my homemade tilt-shift lens is capable of. all shot at f/4.
These are simple test shots I just took a couple hours ago while I was walking my dog. Since I really need to work on focusing distance, I was hand-holding my tilt-shift lens in front of the camera- I did NOT secure it to the bayonet mount. Using the front Nikon F-mount bayonet mount on my ‘plunger-cam‘ style homemade tilt-shift adapter, I used my old manual focus Nikon Series E 100mm f/2.8 lens on my Nikon D300 for all these images.
I am prolly able to get nearly 20 degrees of shift and about 14 degrees of tilt. I haven’t measured, so I’m just guessing here. Yeah, some curious light leaks and flares and ghosts on my D300. No big dealio to me at this point. Maybe, kinda cool.
Cheers.
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on 01 jan 2010, i began my journey w/ a new flickr group i've formed, ~365: experimental
the idea is that i strive to push myself daily; experiment, learn, & develop my photography skills further by exploring techniques, ideas, and experiments. hopefully, some of you might consider joining and we can work on our journey together! cheers.
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Tilt-shift Miniature Fake, Bangkok, Thailand
---
I re-edited miniature fake photos; because, after uploading the last set, I thought they looked too high contrast and too much vivid color. I need more light and soft retouch... Anyway, still under process of trial and error.
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!
Segundo Tilt shift, este mucho más desde vista de pajaro y por lo tanto se consigue mejor el efecto. Esta realizada desde el Atomium de Bruselas.
大台北‧信義區 [ from Mt. Tiger peak in Taipei ]
SONY DSC-H9 + Adobe Photoshop CS2 ( Tilt-shift miniature fake )
移軸鏡 ( Tilt-shift Lens ) ：
改變光線進入鏡頭成像的角度來達到矯正透視變形的問題。不過在目前我們使用135系統因為鏡頭先天的設計，移軸效果不如大型相機 (4 x 5 或 8 x 10 等蛇腹形相機) 那麼優異，但對於只是一般拍攝建築物其實效果再好不過囉！
使用教學 Instructions：
1. 利用 Photoshop CS2 導正 (鏡頭) 影像扭曲
Correcting Lens Distortion in Photoshop CS2：
http://www.kenrockwell.com/tech/correctinglensdistortion.htm
2. 利用 Photoshop CS2 模擬移軸鏡效果
Tilt-Shift Miniature Fake Technique in Photoshop CS2：
www.photographyjam.com/articles/52/the-tilt-shift-miniatu...
May 22, 2007
by Yueh-Hua