What we never did before is to convert some headlight to macro tilt-shift lens. Till we got a mail from David Koch, that is. A mail with a precise prescription.
Search Results for: tilt shift
While we were visiting NAB 2019, we took the opportunity to have another chat with Ben from Syrp. We wanted to find out more about how camera sliders and motion control heads can be used in practical situations. Typically, we see sliders being used for timelapse creation, but we wanted to know more about how they could be used for video. So, here Ben shows us how we can use the Syrp Genie II 3-Axis Pro Slider Kit to add a B camera to an interview.
Pentax shooters waited for the original Pentax K-1 with great anticipation. After a few delays and issues, though, it was finally released in 2016. A full frame 36MP CMOS sensor, 5-axis in-body image stabilisation, an articulating LCD and build as solidly as one would hope from a pro body. Now, though, the K-1 Mark II is here, with a couple of nifty improvements.
The image quality’s improved, thanks to a new “Dynamic Pixel Shift” mode which allows you to shoot pixel shift without a tripod. They say that the autofocus tracking system has also been improved. Oh, yes, and it can see in the dark, thanks to the new ISO 819,200 top limit.
Well, that didn’t take long, did it? After sort-of announcing the Nikon D850 only yesterday during the Nikon 100th anniversary celebrations, the first photos have leaked. Nikon Rumors have managed to get their hands on two of the press photos for the new body. They illustrate two fairly significant features.
They were features we were kind of expecting anyway, but if the photos are real, then it just confirms it. First is the D500-style tilting LCD, and what appear to be illuminated buttons. Nikon Rumors believe these images to be genuine, as the pentaprism is clearly the same shape as that shown in the Nikon teaser image.
Nowadays mirrorless cameras are becoming more and more popular. One thing people adore is its compact size and weight, other, the ability to adapt other system lenses via special adapters.
on the technical side, though, 18 mm flange focal distance allows Sony mirrorless system to adopt practically any other system lenses, like Canon EF, EF-S, Nikon S, F, M42 etc.
Looking native lens lineup at the moment, we see that there are no tilt-shift lenses for Sony. You can adapt other system tilt-shift lenses, but they are pricey, large and heavy. Another option is to thing is to look for workaround. That’s what I did.
I found a tilt M42 to Sony E mount adapter. Price wise it was ~30$, weights 130 grams, provide maximum 8 degree tilt – exactly thing I wanted, the ability to play with focal plane and bokeh. Though it does not have the shift part of a tilt-shift lens, it is good enough for what I need.
After seeing some photos taken with tilt lenses, I fell in love with the idea of lens tilting and its creative options – The miniature effect, Great control of focus and creamy bokeh.
I really wanted to have such a lens, but did not want to spend $1000 for the moderate use I will probably have for it. I decided to make my own. Here is how I did it.
Tilted plane cameras can control perspective in the same way (more or less) that a tilt-shift lens can do.(well, it’s actually just the tilt part, the shift is something else). Tilt-sift is pretty common for dSLRs, either for professional use (like architectural photography), or as a fun add on, like the Lensbaby Spark. Amazingly, it works for pinhole cameras too. And we are going to show you how.[Read More…]
Remember those time lapse movies that show a harbor or a sea port via a tilt shift lens and they look like a set of Playmobil sets.
This time lapse made by the Discovery Channel beats them all. It shows the assembly stage of Maersk Line’s very first Triple-E vessel. While it is a huge ship, the 3-month, 50,000 photos time lapse makes the assembly look like a child play.[Read More…]
After almost a decade of photographing weddings with Nikon cameras, we decided to trade our d750 cameras for the Sony a7III. Here are a few thoughts on how the process went and why we feel it was the right decision.
We’ve been shooting with Nikon cameras for a long time. Our first Nikon camera was the D700, and over the years we’ve owned everything from the really amazing D3s and D4 to the totally pants D610 and D800. For the last few years we’ve shot with the D750, a brilliant DSLR that is small and light (for a DSLR), and capable of superb images. We’d always assumed that someday we’d be updating our D750 to whatever Nikon came up with to replace it.