![]() #14 Here is our first shot with just the door sunlight. Let’s see how we applied these principles in our shoot today, seen below. #12 Now as I tilt the lens down, the background behind the person will be in focus and the foreground will be out of focus. #11 If I stay in a waist up shot, the foreground will not be seen in the camera view, and it looks like the only thing in focus is the person’s face. #10 As I tilt the lens up, the background above the head will go out of focus and the foreground in the front will come into focus. #8 Again, if I stand straight on to my subject and point my camera straight at the subject, then the background will fall out of focus equally on both sides. On the side of the lens, we can rotate the lens 90 degrees and now the swing from right to left becomes an up and down tilt. ![]() Let’s now look at tilting the lens up and down. In these last few shots, the lens is only swinging right or left, not up or down. #7 Here is another image representing this principle, where the lens is swinging to the right. #6 We see the left side of the background is very out of focus, and the right side over his shoulder is sharper. #5 When I swing the lens to the left, my subject and the right side of the background will be in focus. The subject and the front nose of the Airplane are in focus as we swing right #3 If I swing the lens to the right, the subject and the left side of the background will come into focus, and the right side of the background will fall out of focus. #1 If I stand straight on to my subject and point my camera straight at the subject, then the background will fall out of focus equally on both sides. We will be using Dynalite strobes today to light our scene. This will allow us to shoot strobes inside the airplane and balance them with the sunlight streaming in the door. I will be shooting at 200th of a second shutter speed and f5.0. We will not fight the sun but set the color balance to tungsten and let the sunlight go blue. The door will be open, and we will direct smoke to flow into the door from the Rosco 1700. I like the focal length because it gives me a great focus effect, and I can use it in smaller spaces without distortion when shooting people.įor the lighting lesson, we are going to set up inside the C47 with the 82nd Airborne. Here we will look at the process of using a Tilt-Shift lens for focus control.īefore we break into the lighting lesson, we will talk about how the Tilt-Shift lens works and how we will use it as a creative focus tool for our shoot today. Tilt shift focus manual#For this reason, tilt lenses don’t allow for auto focus, so you’re going to have to dust off your manual focusing skills to use one.Today on The Slanted Lens, we are shooting out at the Yanks Air Museum in Chino, California. This means everything from the front to the back to be in focus with a tilt shift lens, but areas on the side can be out of focus. ![]() However, a tilt shift lens has a plane of focus that is almost perpendicular to the sensor. A typical lens has a plane of focus that is directly parallel to the sensor so that focus can be achieved at the front or back of the frame, depending on the focus point and aperture you use. What makes a tilt shift lens so special is that it can be tilted along the image sensor which allows for the plane of focus to change. This is what a tilt shift lens is - it’s not an all around lens that you can use everyday but something you need for a special purpose. There are certain kinds of pens you use for special occasions or to achieve a certain effect, like a calligraphy pen. Think about it this way, if photography is like writing then your lenses are your pens. The word photography literally means writing with light which is a useful concept to have in mind during the times when you’re overwhelmed with lens selection. ![]()
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