just a quick correction in regards to your comment about stitching two frames, when the lens moves you WILL have issues with alignment, especially if anything is close to the camera, the optimal way to do this is to shift the body, or sensor and keep the lens stationary, i.e. how a technical camera works.
I don’t have any experience with a technical camera or shifting the body… But I have never had issues stitching by shifting the lens and have done it many times in various scenarios. I’m curious about what type of issues you’re referring to.
This video was so helpful! I’d love to see some examples where you would use the TS-E 90mm or 135mm. I’m going to buy the 17, 24, and the 50 for sure thanks to this video. Just don’t know when I’d use the 90 or 135
I’ve never used either of those. A few times I used the 50mm with the 2x extender when shooting commercial exterior details from far away though. I also have a 70-200m lens that I used on rare occasion. So for me, no need for the extra expense for the 90 and/or 135 TS.
Almost bypassed this video because I have the 24. So glad I watched anyway: I was only using it for stitching and didn’t know it corrected verticals. It should, for $2000. Perhaps more importantly, I never knew stretch-correcting was “creating pixels out of thin air.” I am immediately done with that.
Another correction: in order to post-produce the shift effect you don't have to necessarily stretch a part of the image and render new pixels. You can also squeeze the other part of the image, lose some pixels and keep the unaltered quality of the picture. Of course this requires a sufficient cardrage or you will draw off-picture area in.
That depends on what you shoot most often and what other lenses you have. But yeah, generally speaking the 24 is probably a safe bet to start. Especially if you can get it used and then also get the 1.4x.
Have you compared two photos of the same image, one created with a tilt-shift Lens and one that had it’s verticals edited in Photoshop and seen if anyone can notice the difference? It would be nice to see.
Big difference. Correcting in PS results in having to crop the image and make it a lot smaller due to the fact that the corners of the image disappear due to correction. It doesn't do the job.
I actually never use that technique (so I just didn't think about it for the video)... I don't tend to line up comps that are wide angle or close to objects very often. So this scenario just doesn't really enter into my work flow ever.
@@adamtaylorphotos very interesting, I think its diffidently one of those tricks to have in your goodie bag though, wonder if there are other neat tricks.
Any advice for when the shifted images don't line up perfectly (shifted panos)? Is the lens shift just getting loose? Does the lens need service or is it just something that happens over time?
Not sure about your situation, but it's pretty hard to get the levels PERFECTLY straight... So that might be why it is tough to get lined up. Try using the "Photomerge" feature in Photoshop instead of trying to stitch manually.
Hard to say unless I’m actually there. Every scenario is different. I keep all my lenses (and an extender) with me at all times and just try them all until I find what works best to meet my (and my client’s) goals on any given scenario.
I use the Arca Swiss Cube tripod head. It's expensive, but if you're building a legit career out of this kind of work, it's well worth it in my opinion.
