Shift Lens
Posted 30/06/2010 - 13:55
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flossie wrote:
(don't bother on a crop-sensor though).
Why not?
(don't bother on a crop-sensor though).
Stefan
K10D, K5
DA* 16-50, DA* 50-135, D-FA 100 Macro, DA 40 Ltd, DA 18-55
AF-540FGZ
K10D, K5
DA* 16-50, DA* 50-135, D-FA 100 Macro, DA 40 Ltd, DA 18-55
AF-540FGZ
Posted 30/06/2010 - 14:45
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Anvh wrote:
Because there's not enough shift to make an appreciable difference. Even on a 36x24 sensor / film there's very little shift available. Shift lenses give progressively more noticeable results as the format size increases. Tilt lenses on the other hand are pretty effective regardless of sensor/film size.
flossie wrote:
(don't bother on a crop-sensor though).
Why not?(don't bother on a crop-sensor though).
Joining the Q
Posted 01/07/2010 - 09:48
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That is a good price for that lens (which I have been looking for) but sadly my immenient move means I cannot afford it right now.
To answer Stefan's question, the usual use for a shift lens is for architecture but the angle of view of a 28mm lens on APS-C means that you'd have to have a lot of room to get the whole building in. It could be useful for details though, like doorways or windows.
As I am happy to use film I'd like one for that, although it wouldn't stop me playing around with it on digital.
Best wishes, K.
To answer Stefan's question, the usual use for a shift lens is for architecture but the angle of view of a 28mm lens on APS-C means that you'd have to have a lot of room to get the whole building in. It could be useful for details though, like doorways or windows.
As I am happy to use film I'd like one for that, although it wouldn't stop me playing around with it on digital.
Best wishes, K.
Kris Lockyear
It is an illusion that photos are made with the camera they are made with the eye, heart and head. Henri Cartier-Bresson
Lots of film bodies, a couple of digital ones, too many lenses (mainly older glass) and a Horseman LE 5x4.
It is an illusion that photos are made with the camera they are made with the eye, heart and head. Henri Cartier-Bresson
Lots of film bodies, a couple of digital ones, too many lenses (mainly older glass) and a Horseman LE 5x4.
Posted 01/07/2010 - 10:36
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Or some Roman artefacts perhaps?
Tim
AF - Pentax K5, Sigma 10-20/4-5.6, Tamron 17-50/2.8, Sigma 30/1.4, Sigma 70-200/2.8, Tamron 70-300/4-5.6
MF - Vivitar CF 28/2.8, Tamron AD2 90/2.5, MTO 1000/11
Stuff - Metz 58 AF1, Cactus v4, Nikon SB24, Raynox 150, Sigma 1.4x TC, Sigma 2x TC, Kenko 2x macro TC, Redsnapper 283 tripod, iMac 27, Macbook Pro 17, iPad, iPhone 3G
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Feel free to edit any of my posted photos! If I post a photo for critique, I want brutal honesty. If you don't like it, please say so and tell me why!
AF - Pentax K5, Sigma 10-20/4-5.6, Tamron 17-50/2.8, Sigma 30/1.4, Sigma 70-200/2.8, Tamron 70-300/4-5.6
MF - Vivitar CF 28/2.8, Tamron AD2 90/2.5, MTO 1000/11
Stuff - Metz 58 AF1, Cactus v4, Nikon SB24, Raynox 150, Sigma 1.4x TC, Sigma 2x TC, Kenko 2x macro TC, Redsnapper 283 tripod, iMac 27, Macbook Pro 17, iPad, iPhone 3G
Flickr Fluidr PPG Street Portfolio site
Feel free to edit any of my posted photos! If I post a photo for critique, I want brutal honesty. If you don't like it, please say so and tell me why!
Posted 01/07/2010 - 20:03
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Thank you Hefty for the explanation.
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
Stefan
K10D, K5
DA* 16-50, DA* 50-135, D-FA 100 Macro, DA 40 Ltd, DA 18-55
AF-540FGZ
K10D, K5
DA* 16-50, DA* 50-135, D-FA 100 Macro, DA 40 Ltd, DA 18-55
AF-540FGZ
Posted 01/07/2010 - 20:07
Link
Anvh wrote:
Thank you Hefty for the explanation.
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
I'm probably well off target with this Anvh, but I think the the shift is more effective at the image edges, hence we lose that when we crop in. I tried my 28 shift in my istD and could not see any beneficial effect. Much better when it was used on my LX.Thank you Hefty for the explanation.
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
Regards
Too far from a shore.
Posted 01/07/2010 - 21:52
Link
K10D wrote:
Regards
Nail. Head. Hit on.
Anvh wrote:
Thank you Hefty for the explanation.
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
I'm probably well off target with this Anvh, but I think the the shift is more effective at the image edges, hence we lose that when we crop in. I tried my 28 shift in my istD and could not see any beneficial effect. Much better when it was used on my LX.Thank you Hefty for the explanation.
Still my mind can't really grasp it.
The lens has a smaller angle of view on APS-C sensor so it should behave like a 42mm shift lens on 135 format right?
Regards
Joining the Q
Posted 02/07/2010 - 11:06 - Helpful Comment
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Actually you get more effective shift in as much as you get 11mm of shift on a 16x24 APS C frame, so you can actually move 3mm 'above' the horizon whereas on at 24x36 full frame the horizon remains 1mm inside the frame on full shift. However usefullness as an architectural lens is diminished by the narrower angle of view you get from the APS C frame (equivalent to 42mm)
Another use for a shift lens is to create stitched panoramas. Doing this with the Pentax 28mm lens (taking two pictures, one shifted 11mm left, the other 11mm right) gives you an 'effective' sensor size of 16x46 - nearly 1:3 - and almost double your image size in pixels, as well as avoiding the problems created by changing the horizontal angle of the camera in conventional stitched panoramas. The resulting image is equivalent of taking a letterbox slice from a 22mm lens in 35mm format.
If you don't need the pixels of course another way of acheiving shift for architectural purposes is to use an ultrawide, take the picture vertically and compose it for the top half of the frame keeping the camera level, and just slice off unwanted forground at the bottom in PP
Another use for a shift lens is to create stitched panoramas. Doing this with the Pentax 28mm lens (taking two pictures, one shifted 11mm left, the other 11mm right) gives you an 'effective' sensor size of 16x46 - nearly 1:3 - and almost double your image size in pixels, as well as avoiding the problems created by changing the horizontal angle of the camera in conventional stitched panoramas. The resulting image is equivalent of taking a letterbox slice from a 22mm lens in 35mm format.
If you don't need the pixels of course another way of acheiving shift for architectural purposes is to use an ultrawide, take the picture vertically and compose it for the top half of the frame keeping the camera level, and just slice off unwanted forground at the bottom in PP
Tony Milner
Super A, ME Super, MZ6, K5II, Ricoh GR & lenses from 8-500mm
www.amilner.org
www.flickr.com/photos/tonymilner
Super A, ME Super, MZ6, K5II, Ricoh GR & lenses from 8-500mm
www.amilner.org
www.flickr.com/photos/tonymilner
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