# Missed An Episode?,Check Out The Full Playlist New Episodes Every (Thursdays. If you've already read through our tutorials on the other two new blur filters in Photoshop CS6 - Field Blur and Iris Blur - then much of what we're seeing in the preview area will look familiar to you. The dots, lines and circles overlaying the image are all part of the same pin which is used to control various aspects of the blur effect (it's called a pin because we can "pin" multiple copies of it to the image if needed for even greater control over the effect). If you look at the center point of the pin, you'll see an outer ring around it. This outer ring acts like a dial that lets us adjust the blur amount simply by turning the dial in one direction or the other. Move your mouse cursor over the ring, click and hold your mouse button, then drag either clockwise or counterclockwise around the ring to increase (clockwise) or decrease (counterclockwise) the blur amount. The HUD (Heads-Up Display) will show you the current blur amount in pixels, and Photoshop will give you a live preview of the effect as you turn the dial. I'm going to set my blur amount to around 12 px.Using tilt-shift Nikkor lenses on Nikon Z cameras for architecture photography is by Dominique Robert (additional photos can be found here):Īrchitecture photography is, first and foremost, about walls. Walls are vertical and straight or essentially straight when one thinks about very old churches and other such buildings.
This is caused by converging verticals, i.e., vertical lines that should be straight and parallel but are not, because the camera has been angled upwards (or downwards, more rarely, in which case the verticals diverge instead of converging).Įxperienced photographers will want to keep them that way, lest they end up, like most amateurs, with buildings that look like they are toppling over backward. Usually, the reason why this happens is because the photographer needed to fit it all within the limits of the frame: when standing at street level in front of a church, a castle or a modern tall tower, most of the time one will be too close to include the top of the edifice in the frame, even with a wide-angle lens. To fit it all in, one will be tempted to tilt the camera up. The moment they do this, the plane on which the image is being recorded (the camera sensor) ceases to be vertical and parallel to the walls of the building being photographed this lack of parallelism creates the converging verticals.Ĭonverging verticals can, to some extent, be corrected in post-production, but this process alters the composition and hurts the image quality, as some pixels are destroyed and others are ìinventedî by software. Demanding photographers will therefore attempt to do it right in-camera, which can sometimes be achieved by moving back until the whole building fits in the frame, even if that means cropping in later to get rid of the unwanted surroundings. When moving back is not an option because there isnít enough space to do so that’s when tilt-shift lenses step in. Historically, tilting and shifting the lens (with respect to the imaging surface) was a standard feature of view (or technical) cameras. Since this post is intended for NikonRumors, we will exclude from our scope large- and medium-format cameras. In the world of 35mm photography (and its digital offshoot), the first tilt-shift (TS) lens was released by Nikon in 1962 in truth, it was a shift-only lens of 35mm of focal length and an aperture of f/3.5, to be increased to f/2.8 with a second version, a few years later which was my very first TS. Nowadays, there are four TSs in the Nikkor lineup: three older D lenses (24mm f/3.5, 45mm f/2.8 and 85mm f/2.8) and only one recent E lens (19mm f/4).Īll of these lenses work perfectly on Z cameras with an FTZ adapter. They are all equipped with electrical contacts that transmit focal length and aperture information to the camera, and they register in EXIF like any other modern-day F-mount lens. I have owned all of them at some point in time, and owned several copies of some of them.
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All TSs are manual focus, even the most recent ones they are also heavy, bulky, difficult to learn and time-consuming to use, not at all weather-sealed, and of course very costly (around 2,000 euros for the older D lenses, and over 4,000 for the newer 19mm f/4 E lens). I am aware that there are less expensive alternatives from third-party manufacturers, but I haven’t tried any of those. Many can be found on the secondhand market, but do not expect huge discounts (except on very old ones from the 1960 and 80s, which cost only a few hundred) as they hold their value pretty well, making them a sound optical investment.
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