What if you can control perspective deformation and focus with pinpoint accuracy on any aperture? Dive into the world of tilt/shift lens and learn how professionals have used Scheimpflug theory to make stunning images.
There are many notable advantages to use Tilt/shift lensThis is then referred to as a T/s lens, or a visible camera. These benefits include the ability to fix image deformation caused by perspective and the ability to take advantage of “Scheimpflug theory”. This principle allows us to change the aircraft of important focus so that we really focus important on any aperture.
I have been using large format cameras for many years, and when they are large, inconvenient, heavy and slow, there are significant benefits to use them. One of these advantages is that, when using a visual camera, it is possible to correct for perspective deformation caused by lens proximity to the subject and perspective. For example, when I am using a visual camera and taking a picture of a subject like a building, the shape of the building will be distorted as to what no perspective will expect to see. Perform, when a certain lens camera such as 35 mm, full frame or crop sensor digital camera, or medium format camera is used, the camera will usually be tilted with a little or more, depending on the height of the camera from the ground. . And the object is being painted. By using some cameras with a visual camera, or a tilt/shift lens, it is often possible to cure that deformity in the camera.
It is important to note that there will be times when it is not possible to create everything in the image, there is a perfect vertical orientation. For example, in this depiction of a church in Las Trump, New Mexico, I can correct for the perspective of the building using my visual camera (this can also be done using a T/s lens),, But the small monument in the foreground – the control of the cross and its fence – did not miss with the Earth. This could have been corrected, but then in the background the building, a part of the story was also being told, it would have been distorted beyond any useful amount.
When we are making a picture of a building with a known shape, we know from the experience that any well-built building will be vertical which are vertical of the ground-less than those, they should be less. Sometimes, there will be a structure where something has happened and its walls are not perpendicular to the ground. Pisa’s inclination tower is one such example. When this happens, the building is often condemned for occupancy. On those occasions, the building is often destroyed, so it is bothering us to see a picture of a building where it is narrow at the top compared to the base, we feel that it can fall on the backward Is. That effect is called “keystoning”, although I don’t know how it got.
This phenomenon, “keystoning”, occurs when the axis of the lens is not parallel to the aircraft of the object, which is being painted. Often, this is a very simple problem to remove. We can solve it by bringing the axis of the lens in a parallel relationship, which we are painting, whether it is the Empire State Building, a grove of the aspenn tries, or L Capitan in the Yosemite National Park. The ability to do so is almost unlimited applications, including object -shaped purpose deformation.
What should be done to create an architecturally right image, with photographs with the object to bring the front element of the lens into a parallel orientation. Sometimes it can be done by using a very long ladder or by taking a picture of the subject from an adjacent building. However, it is often impractical. When using the camera with a blow, the 4×5 view -like camera, or with a T/S lens, simply bending the front standard forward can often fix this type of problem.
Now, some people will argue with legitimacy, that they can get the same result on their computer using a tool in Photoshop to fix a badly distorted image. They can. However, I like to make my own adjustment in the camera. It is only a matter of choice and preference. I enjoy making the necessary adjustments in the area, because it adds my personal feeling that I wanted in the camera. Some will argue at this point, and that’s fine – I do not want to argue with anyone.
Dr. Scheimpflug strike!
Another major advantage of using a camera such as a visual camera is that we can take advantage of Scheimpflug theory. Scheimpflug, and a very similar concept called “Kaj Theory”, just states that if you pull the ray passing through the front element of a lens and another ray through the focal plane of the camera, when they Two rays differentiate on the ground or in any way – or any other horizontal aircraft – the aircraft of significant sharpness will turn from horizontal to vertical.
In simple terms, in Scheimpflug theory, a lens rotation around its vertical axis (where movements are called swing) or its horizontal axis (called an inclination) are to change the rotation of important focus. On large format visual cameras, these controls are found on both front (lens) and rear (film) standards. In my experience, either front or back standard can be used to take advantage of this theory. Traditional knowledge states that you should only use front standard; However, I always use the rear standard while working in the scenario. This method will not work correctly for architectural work, as the size of the object being painted will also be replaced by using the rear standard.
The use of the rear standard not only changes the depth of an area up to a horizontal one from a vertical aircraft, but also creates more appearance or prominence in the image near the camera. When I am taking photos in the landscape, my goal is always an artistic presentation and result. I am rarely worried about the literal interpretation of the scene. If I change the shape relationship in the image, it often occurs for my benefit, and whenever I can, I will take advantage of it.
Scheimpflug a depiction of theory
Here is an example of an image I built many years ago. I was very aware of the Scheimpflug theory at that time and thought that it would be a good opportunity to use it, as I wanted to emphasize the texture and form of the fern against the vertical shape of the aspense. What I forgot to take care was that when I replaced the plane of important focus to run, in this case, under a very vertical hill grade – which I was able to do – the depth of the area again She ran in the vertical direction. While Fern Razor-Sharp focuses directly from the front of the camera to infinite, the depth of the area decreases because the image increases to the aspen tights, and they are progressively out of more care. Learned a lesson.
(It is difficult to see how the upper parts of the nearby aspect are carefully here due to the size of the image. However, in the 16×20 enlargement – which I am small as print – the upper parts are out of care. I cannot live in that shape, but as the image gets large, the focus area is increased.)
Incidentally, I returned to the spot in the next spring, thinking that I can re -connect the scene and correct my earlier mistake. However, a herd of Roosevelt Elk had fallen down there before night, so Fern was beaten in the ground! It was still very good, though. I think the elk did not go for a long time when I came, because I could smell them very strongly. They have a fragrance like sweaty horses, if anyone is thinking.
So, what are practical applications? Mainly, this: In the photograph shown here, Fern was truly chest-deepened. In fact, I still have chlorophyll stains on the shirt of light blue levy that I were wearing that morning – even the shirt pockets, even. So you know that they were deep.
Additionally, it was a very quiet, crisp mountain morning at a distance of about 9,000 feet, and as the sun began to peak on the ridge of the mountain from my across, there would be a quarrel of air. Even a very modest air can tarnish the image by making fern blurring. I needed to maintain a good depth of the region even while achieving an exposure time, which was as brief as possible. I think the exposure was like 12 seconds on F/22. At f/22, using large cameras, the depth of the area is very limited.
Of course, the classic landscape image using this theory will be a landscape. Here is an example that used to work well for me many years ago in White Sands National Park, New Mexico. Due to the subject matter, I wanted every grain of gypsum to be as fast as the lens and film were able to solve.
My process for landscape photography
For those who are interested, my process is here while working in the scenario:
- After zeroing the tripod and attaching the camera-I also focus on objects-I also focus on the object, usually on infinity, and lock the camera control, which includes the tilt and swing, in the position Are.
- Then, I bend the top of the camera back towards me until the camera at the top of the focus screen comes to the nearest focus.
- I lock the back standard of the camera in that situation and fill the camera again for the farthest object.
This process can be repeated as many times as required. However, the more you do nightpick, the more problems you can make for yourself. I usually stop after a cycle of adjustment. After that, I set the lens aperture, calculated the exposure time, and created the exposure.
It should be noted that this process is not available when using T/S lens, as only the front element on the lens axis can be semi-breed.
If you are brave and think that you want to try your hand on big format photography, then information is available. Old hands like me would like to help you!
Tilt-shift shift lens Many different brands can be in B&H. Also, I meet almost all Film and dark spending supply From B&H. I am a long time user of his services.
