View allAll Photos Tagged tilt_shift
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
I simply spent the rest of the evening using my tilt shift lens trying to capture the wood scenery around us in a less than conventional manor.
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!
------------------------
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.
-----------------------
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.
-----------------------
Canon EOS 40D：Canon TS-E_90mm_f2.8
Original size
www.flickr.com/photos/pinboke/2352874417/sizes/o/
In the equinoctial week, many Japanese visit the grave, and remember an ancestor in it.
Nakayan says:
This is a miniature garden photograph of the cemetery in Japan. Although Ｉ thought that it was probably interesting as a photographic subject, I think that it came seemingly to be a miniature model beyond anticipation.
(translation by livedoor translate)
Nakayan's site Super-high-rise apartments and super-high-rise buildings (in Japanese) is here
Nakayan's tilt-shift-fake (Hakoniwa photos) datail and slideshow is here
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
To explain: This is my first attempt at tilt-shifting which is when you have a very selective depth of field, putting the foreground and backgroud out of focus. It can be done with an expensive lens or a free image editing program and the end result is that it should look like a miniature model. Hopefully if you view the large size you should see what I mean.
Photo taken from the top of the Empire State Building several years ago looking down on the Flatiron Building. This was my first attempt.
Tilt shift della di formentera, Calò d'es Morts - Chiringuito Bartolo, la foto è scattata con la mia vecchia D3100
The main university library at Cal as viewed from Evans Hall. Tilt-shift method. (a.k.a. Fake Mini). View large.
I had been waiting for the right photo to try this on. Dr. Farnsworth introduced my to the site tiltshiftmaker.com/
I find that these pictures look a lot better when you view them large
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.
I have made this tilt shift lens using an old Fujinon 28mm f3.5 lens, plus a part of the viewfinder of a 110 pocket camera.
For the mounting I used a camera cup, drilled in the center (inexpensive but not very wearable).
The middle was done with a flexible rubber pipe.
The camera, a D90 has to be use in manual mode and the speed set by try an 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!
Okay, so I know that absolutely everybody ever has done the whole tilt-shift thing but never mind; this is my first attempt. It's not excellent but I had fun making it and that's the important thing.
Tilt shift photo of seats in Featherstone Rovers, Rugby League ground, Wakefield District, West Yorkshire.
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!
The UW-Green Bay campus as seen from above on Tuesday, November 27, 2012. Photo by JJ Malvitz (social web intern).