Tutorials, Instagram filters are called Tilt-Shift. The obsolete result makes the specialists smile.
Discovery without filter of one of the most noble techniques of optics.
The previous subject "Large format photography" showed the possibilities brought by the movement of large format cameras used before digital by studio or architectural photographers. Shift the lens to control perspective and tilt the lens axis to control sharpness.
Canon had developed a range of tilt-shift lenses.
Here is an illustrated presentation of this technique and more precisely of the scale and its diverted use for an artistic creation.
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A tilt and shift lens has a sophisticated design and high optical criteria, which explains its price, but those who want to work professionally in product and architectural photography must have these lenses. In the past, we have worked with large format cameras for a long time, and it was almost unthinkable to work without tilt and shift functions.
Canon TSE II 3.5 / 24 mm
Formula Ford pre-grid - Le Mans Circuit
The 24 mm is tilted to the maximum to give an aspect of miniatures
3.5 / 24 mm TSE II - 1/1250 sec f / 4 - iso 100
Alpine Driving Experience Project - Haute Saintonge Circuit
The "toys for adults" effect is reinforced by the 17mm tilted at full aperture f / 4. It was necessary to have an elevated point of view, to make a precise focusing on the front of the nearest cars and to wait for the goodwill of the clouds for an ideal light. A gap in the sky lit the scene for a few seconds. TSE 4/17 - 1/1250 f/4 - 100 iso
Champagnolles - Charente Maritime
The silhouette of the tree on the sky is amplified by the single point on the top of the branches
2.8 / 90 TSE 1/160 sec f / 3.5 - iso 400
The banks of the Charente at Saintes.
The rocker magnifies the relief already highlighted by the light. 2.8 / 90 TSE 2.8 / 90 TSE 1/250 sec f / 3.5 - iso 100
90 mm scale effect is tilted, at full opening, the point is made on the front of the Lotus
2.8 / 90 TSE 1/1250 sec f / 2.8 - iso 100
Rallye Monte Carlo 2013 - Sébastien Loeb driving the Col de la Fayolle. The camera is on a tripod, the focus was carefully adjusted on the road, all that remained was to trigger a burst at 10 frames / second to choose the best photo. TSE II 3.5 / 24 mm 1/1250 f4.5 - 400 iso
A strange effect appeared on this photo ... The focus is brought closer, the lens tilted to obtain a blurry sun bigger than reality. Yet the shadow of the thread seems to be cast on the sun. These objectives will always surprise us!
2.8 / 90 TSE 1/1000 sec f / 2.8 - iso 200
Saint Saint Sigismond de Clermont (17)
The purity of a winter light is highlighted by the scale and the point chosen on the tower. For maximum quality, the lens is closed by two values.2.8 / 90 TSE 1/200 sec f / 5.6
The Donjon of Pons at the end of the day in December. . The clarity of the sunset is amplified by the blur. The point is on the silhouette of the buildings brings a dramatic dimension to the image.
2.8 / 90 TSE 1/100 sec f / 5.6 - iso 200
The lens is tilted to provide a plane of sharpness that goes from the rose at the bottom of the sharp image to the gear of the stone wheel at the top of the image. The depth of field increases by closing the iris at f / 22. Otherwise the watering can located in the middle area of the image would have been blurred.
3.5 / 24 mm TSE II - 1/125 sec f / 22 - iso 400
The blurring of the background is reinforced by the rocking towards the sky, only the image area which passes over the rose is clear.
3.5 / 24 mm TSE II - 1/1250 sec f / 4 - iso 200
Image without tilting the focus is on the biker the depth of field of 90 mm at full aperture is small. TSE 2.8 / 90 - 1/400 sec f / 2.8 - 100 iso
The plans intersect at the same point. Everything will be clear. We are in the classic configuration for this scene, for a best quality image. The Scheimpflug rule is respected
The entire road map is sharp. Aperture is closed at 16 to increase the depth of field. The 3 objects are not in the same plane as the road map.
TSE 2.8 / 90 1/15 sec f / 16 - 100 iso
Dani Sordo - Wales Rallye GB - Hyundai i20WRC . To succeed in following an action using the shift even for the rare specialists is mission impossible. You have to choose a point on your sight glass and make the trigger coincide with the action. Small tip from the Pro, a gift for those who have read this subject to the end: Use an AF sensor as a reference on the target glass and adjust the focus there. Make this point active at the time of shooting, knowing that as we are in manual focus it is not displayed in the viewfinder. The biggest difficulty is to virtually imagine the intersection of the plane of sharpness with reality. In the case of this image, from above, there will always be about a meter difference between the road and the hood. The depth of field is almost zero at this aperture value. 2.8 / 90 TSE 1/1000 sec f / 4 - iso 400
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