Just bought a used first-gen Canon 24mm f/3.5L lens for my architecture shots. I'm using it on my Canon EOS R body with the Canon EF-RF adapter and the results are stunning. I can't believe I waited so long to buy one of these lenses.👍
Thank you for showing us how to correct distortion of a subject on one side of the frame. What do we do if we want to correct distortion of a subject on one side of the frame and we also want to correct the distortion of another subject on the other side of the frame?
Very good demonstration. Being new to a tilt shift, I assume that when you rotated the shift of lens 90º, you're limited to the horizontal position of the tripod level. In other words, no up or down shifting?
You can rotate it less than 90degrees so that you shift diagonally. So up or down a bit as you need, while right or left a bit to correct that distortion or stretch of closer objects. I use this all the time to get the right composition while correcting for those closeup object stretching issues. I see this more often as I use the 17mm TSE a lot for interiors, which can often be too cramped to use a 24mm. I want to thank Matt for this video. I have never seen anyone else advise this on youtube, it is so key to normalizing a wide angle image, and making it look less like a wide angle lens and more natural. At the same time that the there is less stretch closeup, it stretches the distant objects more instead, which helps to make them larger instead of seeming tiny and distant as regular wide angle lenses do to distant objects. Its a great mostly undocumented advantage of shifting a lens.
Hi Matt - Sounds promising, but I suppose you then put the two images together in PS somehow ... Wish you showed that too. Please tell us, how do you blend the images, albeit retaining the less stretched look on one side? I can't imagine deciding on a specific point where you transition abruptly from one image to the other...
Two year old question but I’ll take a stab. You don’t. Just take one picture. Using this technique actually removes distortion from both sides of the frame concurrently, meaning the side that’s closer to the camera becomes less stretched, and the side that’s farther from the camera becomes less squished. Bonus tip: if you keep turning the camera you can remove the distortion completely. 😂
Hey Matt thanks for the video. Quick question about tilt shift lenses though. I understand the need for wide tilt shift lens is like a 17 mm but for anything longer does a tilt shift lens hold any advantage over simply shooting on a high megapixel camera with an ultra wide lens and then cropping in post to your desired composition? I'm thinking this is probably the better option since you can get faster, sharper, native, wide angle glass then any tilt shift offing and you would still get to keep autofocus. Any thoughts?
I'm kind of with you. IMO, anything shot past 50mm kind of looses the need for a tilt shift. I'm sure many would disagree with me, but I always recommend arch photographers at least have a 24mm tilt shift as well.
The simple answer is you can’t compose an image properly if you need to crop it in post to take care of perspective control. And as the video shows, it’s not all about converging lines. For most architectural and interiors photography, the 24mm is the work horse, the 50mm is common too and the 17mm is used way less, but sometimes it’s just needed, as for the sharpness compared to other primes, the latest generation canon ts-e lenses are sharp to the corners when not shifted to the extreme edges and as one is always on a tripod, large apertures aren’t necessary…basically, they’re expensive and that sucks, but eventually you end up there.
@@lindsaywebb1904couldn’t you get a 14mm, aim it at the microwave so that it’s closer to the center, and then crop a 17mm image shifted to the right for a similar effect as the tilt shift?
I am stitching 3 vertical images to create one image. Now when i use strobes to light them up. I need to light them up three times? or is there a faster way.
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That B&A explains what this type of lens does much better than the last few videos I've watched about TS lenses, thanks!
Just bought a used first-gen Canon 24mm f/3.5L lens for my architecture shots. I'm using it on my Canon EOS R body with the Canon EF-RF adapter and the results are stunning. I can't believe I waited so long to buy one of these lenses.👍
Great video as usual. I have learnt a new technique related with tilt and shift composition. Thanks Matthew for sharing the idea. Love from India.
I use shift left , middle , right for some fun wide panos from time to time also.
Amazing! I’ve been doing a lot of research and haven’t come across this yet. So cool
Thank you for showing us how to correct distortion of a subject on one side of the frame.
What do we do if we want to correct distortion of a subject on one side of the frame and we also want to correct the distortion of another subject on the other side of the frame?
Move farther back and increase your focal length.
Very helpful!
Thanks, maestro!
Very nice technique !
Great videos. In relation with this technique, in case you use flash for lighting the space, do you flash it twice for each of the shifts?
Fantastic for a shift newbie 👍
Brilliant.
Well described.
Great tip!
Thanks for the great tip!
Very good demonstration. Being new to a tilt shift, I assume that when you rotated the shift of lens 90º, you're limited to the horizontal position of the tripod level. In other words, no up or down shifting?
You can but then you'll probably have to correct verticals at that point.
You can rotate it less than 90degrees so that you shift diagonally. So up or down a bit as you need, while right or left a bit to correct that distortion or stretch of closer objects. I use this all the time to get the right composition while correcting for those closeup object stretching issues. I see this more often as I use the 17mm TSE a lot for interiors, which can often be too cramped to use a 24mm. I want to thank Matt for this video. I have never seen anyone else advise this on youtube, it is so key to normalizing a wide angle image, and making it look less like a wide angle lens and more natural. At the same time that the there is less stretch closeup, it stretches the distant objects more instead, which helps to make them larger instead of seeming tiny and distant as regular wide angle lenses do to distant objects. Its a great mostly undocumented advantage of shifting a lens.
Which ts lens do you recommend to buy first? Laowa 15 mm, 20 mm or Canon 17mm, 24 mm?
So good!
Thanks.
Hi Matt - Sounds promising, but I suppose you then put the two images together in PS somehow ... Wish you showed that too. Please tell us, how do you blend the images, albeit retaining the less stretched look on one side? I can't imagine deciding on a specific point where you transition abruptly from one image to the other...
Two year old question but I’ll take a stab. You don’t. Just take one picture. Using this technique actually removes distortion from both sides of the frame concurrently, meaning the side that’s closer to the camera becomes less stretched, and the side that’s farther from the camera becomes less squished.
Bonus tip: if you keep turning the camera you can remove the distortion completely. 😂
Hey Matt thanks for the video. Quick question about tilt shift lenses though. I understand the need for wide tilt shift lens is like a 17 mm but for anything longer does a tilt shift lens hold any advantage over simply shooting on a high megapixel camera with an ultra wide lens and then cropping in post to your desired composition? I'm thinking this is probably the better option since you can get faster, sharper, native, wide angle glass then any tilt shift offing and you would still get to keep autofocus. Any thoughts?
I'm kind of with you. IMO, anything shot past 50mm kind of looses the need for a tilt shift. I'm sure many would disagree with me, but I always recommend arch photographers at least have a 24mm tilt shift as well.
The simple answer is you can’t compose an image properly if you need to crop it in post to take care of perspective control. And as the video shows, it’s not all about converging lines.
For most architectural and interiors photography, the 24mm is the work horse, the 50mm is common too and the 17mm is used way less, but sometimes it’s just needed, as for the sharpness compared to other primes, the latest generation canon ts-e lenses are sharp to the corners when not shifted to the extreme edges and as one is always on a tripod, large apertures aren’t necessary…basically, they’re expensive and that sucks, but eventually you end up there.
@@lindsaywebb1904couldn’t you get a 14mm, aim it at the microwave so that it’s closer to the center, and then crop a 17mm image shifted to the right for a similar effect as the tilt shift?
I am stitching 3 vertical images to create one image. Now when i use strobes to light them up. I need to light them up three times? or is there a faster way.
I came in because I thought you were Christian Slater