Tiltshift foggy city full#

I moved the lens back to the center where I then focused and tilted the lens to maximize my depth of field.

I then shifted the lens to the far right to make sure I had the entirety of the ledge in the image as well. I first shifted the lens as far left as I could to make sure that the left image edge began where I wanted it. With my Canon 24mm tilt/shift loaded on my camera and my camera on a sturdy tripod, I oriented the camera vertically with the shift set up to go from left to right. I spent a couple of hours scouting locations until I found this set of interesting and colorful rocks and grass with the ledge that led into toward the setting sun. Regarding the image above, when I first arrived on location at Agate Fossil Beds in western Nebraska, it was midafternoon with sun dominating the sky, but I could see a front brewing in the distance. This helps save me time in processing as filter-less techniques require bracketing, something that adds complexity and time, especially three-fold when you are capturing 3 shots for each final image.

Tiltshift foggy city full#

The benefit here is that as I shift the lens either from side to side or up and down, the neutral density filter is big enough to cover the full image. Whenever I have a need for a Graduated Neutral Density filter, I use the 4×6 size to cover the increased size of the tilt/shift glass. Of course, since image clarity and quality is key, I use only Singh-Ray filters. This combination allows me the very detailed, large files that I need for my work. Besides tilting these lenses to maximize focus, I also employ the shift to capture three images and then stitch them in Photoshop. These lenses afford me the sharpness and detail that I’m looking for when I’m capturing landscapes that I want enlarged to the fullest extent. As I’ve matured my photographic techniques, I have gravitated to Canon’s line of tilt/shift lenses.