This is Part 2 of a series on using Tilt-Shift or Perspective-Control lenses. In this part, we look at the “Tilt” functionality of these unique lenses. Part 1, which covered “shift” functionality, can be found here.
At some point in time, we’ve all seen photos where the subjects – usually views from high-up of cars, buildings, people, etc. – appear to be miniaturized versions of reality. This is perhaps the most the most often-seen result from using tilt-capable lenses like the Nikon 85mm PC-E.
In this part of our series, we’ll explain how this effect is achieved with tilt-shift lenses.
When rumors of the Sony NEX-6 hit the internet, it was a welcome bit of information for fans who wanted something between the high-end NEX-7 and the more consumer-friendly NEX-5N. There was a real need for a camera that added a few more physical controls for advanced amateurs, for example, who are used to dials and switches to quickly change camera settings, or for a camera with tweaks to the user interface, or – a pretty important feature for me – a viewfinder.
Well, Sony has provided all of those features, and then some with the NEX-6. So, naturally, when we received this shiny new toy, I had to take it for a spin.
Now, the really cool lenses – the 16-50mm and the 10-18mm are very much in demand, and all of our copies were checked out when I wanted to take them for a spin, so I settled on the massive 18-200mm lens and the Zeiss-badged 24mm f/1.8 lens. I shot them in a variety of different conditions, and – spoiler alert – I had an absolute blast.
Last week, I posted Part V of my “Switch” series, which you can find here:
Previously, in the Switch series:
- Part 1: I talk our marketing VP into letting me go Nikon for a while.
- Part 1.5: which was mislabeled Part 0.5, in which I gawk at a violin.
- Part II: The Nikon gets abusive.
- Part III: CLS starts to look pretty good.
- Part IV: In which I return to Canon for a spell.
- Part V: The conclusion, in which you learn what I ended up with.
I’ve pretty-much laid out my reasons for switching, but I felt compelled to add some kind of postscript to that series. So, here it is.
With autumn upon us, daylight hours are fewer and further between. I don’t stop shooting (later sunrises mean I can actually drag myself out of bed at a better hour), but I do take more time to catch up on my reading. Accordingly, I spend some time to put together a list of the best photography books that I want to go through each year and will bring you reviews of the ones I liked the most.
My (virtual) bookshelf is full of titles I’ve read or plan to read for reviewing or for personal edification. Some, like Brian Smith’s book on portraiture, which I reviewed earlier this week, are for personal edification and review. Some, like Light, Science, and Magic, are on there because the subject matter is of interest. And some are on there because I’ll read even an obituary by one of these authors.
Authors like Joe McNally, for example, whose books like Sketching Light and The Moment it Clicks make for fantastic and entertaining reading. Others write books so chock full of information that they become indispensable reference material that I find myself going to pretty often. My friend Syl Arena is an author and teacher who falls into the latter category, and his latest book, Lighting for Digital Photography: From Snapshots to Great Shots is something that I think should be more appropriately titled “Light: The Missing Manual”.
While we receive many notes of thanks (and sometimes even small gifts) back with our rentals, every so often we receive something that knocks our socks off. We received this letter back with a Canon 24-105 lens.
I am returning this Canon EF 24-105L lens, that you so crueley numbered 20033064. I’ll have you know that this number to you has a name, and his name is Jack. Jack arrived on my doorstep Sept. 27th. I was so excited to meet my new friend. Little did I know we would soon become more. I told Jack we were going to Disney World! He was so excited, he’d been so many places and had heard other lenses and cameras talk of Disney. On October 1st, we arrived and instantly Jack showed me how happy he was. I didn’t have too high of hopes, I thought “maybe I’ll get a few nicer pictures.” He surpassed all expectations. My images were so clear and sharp, such detail. Where have you been all my life Jack?! (Oh, that’s right, cooped up in your backroom! Shame!) I took Jack to more and more parks, he saw shows, rides, animals, and foods he’d never seen before. I was rewarded with pictures I’d never seen my T1i take before. It was inevitable… We fell in love. The 12th came and I couldn’t let him go! Just a few more days! And now it’s over, I want you to know, you may have his body, but he left his soul in my pictures! YOU CAN’T TAKE THAT AWAY! WHAT WE HAVE IS TRUE AND NO DISTANCE CAN CHANGE THAT!!! SHAME ON YOU FOR BREAKING UP TRUE LOVE! =( I’LL NEVER FORGET YOU JACK!!! <3, Felicia
As we received this letter in our warehouse, we felt compelled to make a change. This lens was special to Felicia and helped to provide some amazing photos and memories for her and her family. We made a change in our systems so that this Canon 24-105 lens would not longer be “#20033064”, but instead go by “JACK” in our systems.
Welcome home JACK. What’s your next adventure going to be like?
Update: JACK found a forever home with a loving photographer in 2014.