View allAll Photos Tagged tilt_shift
Playing around in Photoshop to create a 'model railway' look of a 4-CIG EMU leaving Brighton in the Summer of 1982
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
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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.
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.
Photo taken from the top of the Empire State Building several years ago looking down on the Flatiron Building. This was my first attempt.
I rented the Canon TS-E 24mm f/3.5 tilt shift lens from lenses for hire and these are some of the pictures that were produced!
This uses the Tilt functionality and creates the model effect.
The main university library at Cal as viewed from Evans Hall. Tilt-shift method. (a.k.a. Fake Mini). View large.
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
---
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'm currently testing out some Tilt Shift editing in Photoshop, it's a lot of fun:) Please give me some feedback if you got some ideas or tips!
Must view LARGE!!
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!
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!
I've been playing around with the Tilt-Shift-Maker (tiltshiftmaker.com/) on some of my pictures. The tool is kind of nice, but the quaility of the tiltshift photos is not that good. Outback australia, a bush camp near kings canyon.
original shot:
www.flickr.com/photos/fipsy/2140134758/
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If you use this Creative Commons picture, please use my homepage Philipp Roth or my blog Fipsy? Fipsy! for attribution.
came across a relative boring shot i took at the cloud mountain dome. hoping to salvage it, i added some tilt shift effects via nik collection.
comments and critique are very welcomed.
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).