For other subjects such as tall buildings, I can adjust the shift of the lens to allow me to capture an entire building without having to point my lens upwards like you would on a conventional wide-angle lens. This lets me achieve shots of buildings with straight, parallel lines instead of having converging lines.
With its strong optical performance, the lens naturally pairs well with the high-definition Nikon D No doubt this is a hefty pair, but the lens balances well with the weighty Nikon D, which gives it a solid and reassuring feel especially for architecture photography.
Jon is an award-winning, Singapore-based landscape and architectural photographer who has been documenting his pet genres for the past ten years.
He was the overall winner for the Singapore Young Photographer Award. His works have been published on various print and online platforms, both locally and abroad.
He also writes reviews on photography products on local photography community forums. Xlite Paper Cutters. Di Support Retail Kiosk Solutions. Ricoh DTG Ri Canson Infinity. Epson Papers. Epson Inks and Other Consumables. Ilford Paper. Hahnemuhle Papers.
Proofing Papers Fogra Certified. Canvas Rolls. Matte Coated Papers. Solvent Media. S-Race Dye Sublimation Papers. Canon Pro Inks. Inkjet Coatings. Tether Tools. Datacolor Calibration Gear. Xrite Calibration Charts. Sandisk Memory Cards. Hoya Filters. Eneloop Battery's and Chargers. Dust Off. Wooden Camera. Deity Microphones. Core SWX. Blackmagic Design. Sony Cinema. Manfrotto Video Tripods.
I shifted the lens down to avoid leaning the camera forward and tilted the lens to extend the plane of focus. Adam shifted the lens down a bit to adjust the composition, then tilted to get everything in focus. A two-image composite of a meltwater stream at Worthington Glacier, Alaska. It's possible I could have gotten it all in focus if I'd spent the time, but the camera, the lens and I were getting sprayed by ice-cold water.
After sunset at Winter Harbor, Maine. With his tripod low to the ground and a couple of feet from the rocks, Adam used both tilt and shift for this photo. Adam shifted the lens down to include more of the flowers and less of the flat, gray sky, and to keep the building lines straight. He also tilted the lens for front-to-back sharpness. Everything about the 19mm PC lens is at work in this Graham Hobart image, from its wide-angle view to its downward shift capability.
The tilt capability of the 19mm lens kept everything from ten inches in front of the lens all the way to the back of the room in focus. The idea was to see how well the lens, with its forward tilt insuring front-to-back sharpness, would work at creating an abstract design from an industrial product—in this case a McLaren automobile. The client wanted the two living areas in one shot.
Even the wide eye of the 19mm couldn't get that in the space available, so Graham took three shots using the shift capability of the lens and stitched them into this indoor panorama. This stitched composite image of a symphony hall was made with the 19mm shifted to make three horizontal images. A three-image stitch of a stairwell in the concert hall, made with the camera oriented vertically and the lens shifted likewise.
Same concert hall, but a single shot made with lens shifted. Graham thought that a Grand Canyon panorama was just the thing to challenge the wide angle 19mm PC lens.
This is a three-image stitch made by shifting the lens horizontally. Another three-image panorama. Foreground, background, all in focus front-to-back using the shift and tilt functions. This is resolution and image control beyond anything I can achieve with other lenses. And there's so much information in the files that I can do careful crops as a secondary benefit later to suit a client's needs.
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