Nice summary video. A few additions and elaborations. Tilt/shift was not an "aerial" invention, but a necessity in large format photography. Your "full frame" (i.e. small format) camera's "nifty fifty" (50mm focal length) needs to be about 350mm when you shoot 8"*10" (almost A4) size film negatives or positives, for the same diagonal angle of view. Stopping down aperture to f/45 or (much) smaller (higher numbers f/number) does not do a lot, so we used "tilt" (in English "tilt" in a narrow sense only refers to up/down and "swing" to horizontal rotations) as a way to alter the focused on plane. The idea was not principally to use it for getting things out of focus as that is very easy with a large format lens even when it is f/8 or f/6.3 at fully opened aperture. The write-up here is from the stills-photography point of view. As an alienating or artistic effect in cinematography, it has its merits as demonstrated in the video. But, I still remember the first zoom lenses in TV broadcasts and camera operators zooming in and out "ad nauseam". It must have a function in the storytelling or else it is a gimmick. Essential in this "focal plane" thing and essential to quickly understanding it, is "Scheimpflug's Law". This involves (1) film/sensor plane, (2) focused on subject plane, and (3) the lens plane that is perpendicular to the lens's optical axis. Scheimpflug (shime pfloog) postulated that we are "in focus" when these 3 planes intersect in one shared intersection line. How is that possible in the default case where these 3 planes are parallel? Well, in geometry one of the first axioms we learn, is that parallel things intersect at infinity distance, so the axiom explains Scheimpflug's Law in the parallel case. By (tilt) rotating these 3 planes we also rotate the Depth of Field and affect how its depth evolves. As large format cameras rely on adjustments of the 2 planes at the camera's side, the adjustments are not integrated into the lens, but a feature of the camera that basically is a bellows between a mount for a film cassette on one side and the lens board at the other. Note that being in focus, while lens tilted, in terms of Scheimpflug, we get another focused on plane when we change the focusing distance, and may have to adjust the tilt consequently. Large format cameras got developed that suffer less from this because they tilt (swing) differently (cf. Sinar P). But this adds to the camera's bulk and weight. "Aerial" photography may have invented "tilt/shift" lenses that integrate the T/S into the lens's barrel, though. The critical factor in T/S photography is the lens's "image circle" with fully opened aperture that is part of its design. We would have large format lenses for "8"*10" " that actually only gave an image circle of the required size when stopped down considerably. When a lens "vignets" (verb) at fully opened aperture, this may mean its image circle is not perfectly covering the camera's format. There are two ways in which a T/S lens is limited in degrees of freedom: the image circle and the cutting off of the projected image by bellows (or lens barrel) and/or camera mount. Having a wider bayonet mount diameter is better and having a shallower flange distance is better. But still, your adapter and the lens you put on it are decisive even with the widest shallowest mount characteristics (Nikon Z mount). The video demonstrates a stitched panorama from two shots and here the lens clearly vignets. To mitigate cut off in the camera, "we" used a wide-angle bellows when shooting with a wide angle lens. With integrated T/S lenses that is not possible. You can still buy a T/S camera with all these adjustments designed specifically for your digital camera as its "back" (cf. Cambo). The video focuses first on "bokeh" and using tilt as a way to get selective bokeh, but as indicated, "we" would use it to get things in focus that we could not get in focus by stopping aperture down - because there was not enough DoF in our lenses. The toy effect, in the past, was considered just that. To get a lens with a larger image circle, you could try lenses for larger format cameras than the camera you have. For example a lens for a 4.5cm * 6cm camera. These may be affordable, second hand. The shift "we" used primarily as a way to get something in frame that would require tilting the camera if we had no shift. When you tilt your complete camera then you alter the perspective. Look up at a tall building and you'll see that its top is narrower - in your vision - than its bottom, even when the building has parallel sides. If you can keep the camera level/plumb then objects with parallel features when plumb/level retain that parallelism in the camera's image. The video demonstrates this. If, say in New York city, you want to shoot the Flatiron Building (originally called the Fuller Building) with parallel vertical lines then you can do three things: (a) use a shift lens of wide enough angle, keep the camera/lens/subject all parallel and use the shift to get the top of the building in frame. (b) in absence of a shift camera/lens, use a much wider angle lens, and with everything parallel (plumb/level) you now get way too much foreground that you crop away later. (c) shoot with a tilted camera (no T/S) thus rendering parallel lines (in the 3D real world) as converging lines in the 2D depiction of the subject. In post, make "perspective" adjustments. I write "adjustments" rather than corrections, because the converging lines are geometrically perfect but just not what we wanted. Depending on the lens's qualities and features, the tilting-without-T/S of the camera/lens combination may actually give you a DoF problem. Note that using tilt does not maintain parallelism in the way shift does. The late, great, famous portrait photographer Yousuf Karsh shot his portraits (during his career he held 15,312 sittings and produced over 250,000 negatives) generally with an 8"*10" camera with a 14" (355.6mm) lens on it. But generally had a 4"*5" adaptor in the back of the camera, thus shooting "cropped". The large format camera Karsh used the longest time, was a vanilla brand simple one that had limited adjustments. The lens he used was a "commercial" (i.e. professional) one from the Eastman Kodak company. My perception (prejudice) is that Karsh never applied T/S in his portraits. Alternatively to a T/S lens, you can try "focus shift" shooting where you shoot the same image repeatedly, but each time shift the focusing distance a bit. In post you can stack these and in the stacking decide which zone from which layer(s) you want to include in the final image. But, this has "time parallax", as the constituent parts of your later final image got taken at different moments in time. When you shoot "movie" with a camera that has a smaller than "full frame" sensor, then you can easily use full frame lenses because they have a larger image circle. But, you must be able to source the T/S adapter that turns a normal lens into T/S (these adapters are the main subject in this video), or use a full frame T/S lens with a simple mount adapter, bu the T/S lens likely will be rather expensive, even second hand.
@@MathieuStern - thank you, and let's face it, its reading time is shorter than your video. But hey, men cannot listen and read, while being great at visuals.
Some things to note with tilt-shift adapters: [1] Expect heavy vignetting if the lens matches the sensor size. Ideally, you'd want to use a lens with an image circle larger than the sensor of your camera (ex. an APS-C sensor behind a lens intended for full-frame cameras). [2] Pretty much all tilt-shift adapters have the tilt motion and shift motion move perpendicular to each other. Unlike freelensing, you cannot shift in a parallel direction to offset the heavy vignetting from a tilt. [3] For a tilted lens, foreground bokeh (i.e. anything between the camera and the plane of focus) looks nasty compared to background bokeh. The look is very different from the bokeh of a non-tilted lens. [4] Most normal lenses cannot focus beyond infinity. When using tilt-shift adaptors, this means that there will be areas in your image frame that would be impossible to focus on for certain tilt orientations.
@@jimstirling7223 I don't think the camera could do much about it since these adapters don't pass metadata. And even if some future tilt-shift lens were to do so (ex. Canon's planned tilt-shift with autofocus), I doubt that they would include the tilt/shift information in the metadata, let alone have in-camera profiles for correcting every possible configuration.
I just bought this adapter , to avoid vignetting i bought a Pentax 645 45-85 zoom lens with the adapter to fit my canon R8. the lens is designed for a much larger film /sensor size and covers way outside the sensor of a full frame camera , so no vignetting
@gordonyoung1970 hi, thank you for your info. Much appreciated. I'm very new to tilt shift lens, and I just got my R8. Which adapter did you purchase to work with your pentax lens? And do they work well for architectural and landscape shots?
A friend of mine has a tilt-shift lens and it's his most used for travel photography - so much so that he's worn the paint off in places. They're also useful in real estate photography when you're in a confined space and have trouble using a regular wide-angle lens at an awkward angle. You can also take pictures of mirrors without having a reflection of the camera.
I have a TSE-24 and have been considering these adaptors for playing with different length lenses. One additional use you didn't mention is the ability to take a photo looking straight into a mirror without the camera being in it.
I know its dificult to make such am adapter for the same mount on both sides since this sould result in the lense being furthur away from the sensor then intendet, reducing the fokus distance and effective f-stop and so on. But still, nice that this is an "adapter replacers", But I want an actual adapters to "convert any lense into a tilt shift lense." That means same mount on both sides.
You're getting close to building the idea i have had of making a digital movie camera that has a video sensor on a gimbal to act in a similar fashion as a old style view camera. One could then program degrees of movements at various speeds of tilt and swing to move the field of focus to draw the viewers' attention or for dramatic effects.
Great review of the possible uses for a T-S lens. I have used Tilt Shift since I got Canon 90mm and 35mm T-S on eBay. Then switched to using them on Sony E mount with an adapter. The Sony Focus Peaking display makes using T-S much easier. Too bad they don't offer E mount to E mount to get T-S with any Sony lens.
This past few days I discovered tilt shift and was devouring videos about it, then I discovered the price, and then you arrived like a savior enshrouded in light.
It's due to the Flange Distance between the lens mount and the camera mount. The adapter would add more distance, and thus, the resulting image would be totally out of focus... and even more so after the Tilt/Shift adjustments. 😢
No, tilt shift lenses were never for aerial photography, because in aerial the focus plane is a mile away away you always get perfect focus at infinity, and that's not a TS camera in the image at (0:12).
Shift is very limited with 35mm lenses on 35mm cameras since the image circle will not be large enough and medium format lenses will not be very wide on 35mm sensors or smaller.
Hellow mat, I have a sankyo zoom lens from sankyo super cm 300 super 8 film, but deadly. So i just take the lens. Did u know what mounting that lens? Is this possible use c mount adapter mounting for micro four third. I know u r the expert of this
Thank you Matthew for sharing this video. You certainly showed all the features of owning one of these adaptors which I bought about six months ago and haven’t had the time to really use it. It works, especially well if you use full frame lenses on crop sensor cameras, for the benefit the larger image circle of the full frame lens, thank you for sharing this and look forward to other videos from you. Regards, Gerry.
This looks amazing but I have never heard of a tilt shift lens for aerial photography !!! And I was an airforce photographer and have used the cameras you pictured :-)
I think it should be obvious. As a general rule you can only adapt DSLR lenses to mirrorless cameras because the lens has to have a larger flange distance.
Which of these adapters should I choose to use the lenses for my Canon 6D camera with tilt-shift? Seems like I would need an Canon EF to EF adapter, but all these adapters seemt to be from one type of mount, to another?
@@MathieuStern Oh, my camera is actually an SLR camera, but I guess it would be the same problem then. And that only certain combinations of lenses and cameras/mounts will work. It would be nice (better) to do the tilt shift in camera instead of with Photoshop. I guess Adobe did us a favour btw by introducing intolerable terms, now we must take proper pictures in-camera, again as before, so we don’t need Photoshop or AI. 😛 Nice video anyway, thanks! 🙂👍
Ah yes. The tilt/shift. Back in the day, I would always rent such a lens when shooting architecture. the rubbery bellows thingy was a fun experimental adapter, but this Fotodiox seems to be a solid modern tool. It doesn't look like it electronically connects the lens when in place, but that's okay. Just shoot manual. I shoot Nikon (F mount). It doesn't look like it will maintain proper film plane so even using native lenses will force this to make the lens a bit of a "macro" lens. I see you used a Sony cam with a Canon lens. Canon to F-mount could work with interglass, but... it's the whole focal plane issue. Anybody experience that?
I also have an F-mount camera, and it looks like for that they only make shift lenses without tilt (and only ones that accept medium-format lenses like Pentax 67), presumably because even with the extra space to the film plane afforded by medium-format lenses, they couldn't fit a tilt mechanism.
As an architecture photographer, man this is a dream. Considering the insane price of TS lens. But will it vignette at the edge of the frame? Does it available for canon rf?
Also super interested in the use of Architectural photography. I love the idea of being able to use multiple medium format lenses with shift functionality. However, without purchasing the shift adapter, I cannot determine whether the vintage medium format lenses truly live up to the quality and if they are suitable for professional use. I suspect so albeit without the modern conveniences.
Its not possible. It would act like an extension tube, and totally screw up your focus, by moving the lens plane of focus well away from the sensor. This adaptor is for using lenses designed for SLRs, on mirrorless cameras, with their much shallower back focus depth.
I guess it works for experimental video but for photos I honestly don't see the point. Apart from maybe trying for a dreamlike aesthetic, but still, the cutoff between blur and sharp areas is too visible
@@mjl1958 that changes with extension tubes too. And we have speed boosters and teleconverters too. So I guess it's not impossible to make a tilt shift extension tube which is also corrected for the flange distance. At least to some degree.
@@FelanLP Extension tubes are for close focussing and do not allow infinity focus - they just give you a new starting point. Speed boosters are for adapting older SLR lenses, with a different flange distance. MFT to MFT adapter is just not possible.
@@mjl1958 I know. But we have the technology to "adapt" the same mount (extention tubes), we have the technology to enlarge an image (teleconverter) and to shrink it (speed booster). There has to be a technology to correct the flange distance too. Maybe by using some sort of prism or so.
@@FelanLP You are wishing for something that cannot exist. An MFT has a fixed flange distance; anything that goes between the MFT lens and an MFT body would change that distance (as with extension tubes). Teleconverters and speed boosters have optical elements that change the properties of the lens. Tilt and shift involved changing the position or angle of the lens relative to the sensor - this cannot be achieved with additional lenses.
I was just thinking about how much I appreciated it tbh. I had heard of it, and seen tilt shift photographs, but I never knew the lens literally tilted lol. Much less its history. Nifty stuff, the videos not even 10 mins long, well done btw
![Why not to buy a tilt-shift lens [Fuji 30/5.6].Tilt-shift isn't magic, what do the lenses really do](http://i.ytimg.com/vi/Zt9DjlaiUHA/mqdefault.jpg)
![Why not to buy a tilt-shift lens [Fuji 30/5.6].Tilt-shift isn't magic, what do the lenses really do](/img/tr.png)
This the best channel for photographers who love photography for the love of the art and not for the love of money. and I'm all for it!🥰
The infra-red shots turned to be truly magnificent with this adapter😍
Nice summary video. A few additions and elaborations. Tilt/shift was not an "aerial" invention, but a necessity in large format photography. Your "full frame" (i.e. small format) camera's "nifty fifty" (50mm focal length) needs to be about 350mm when you shoot 8"*10" (almost A4) size film negatives or positives, for the same diagonal angle of view. Stopping down aperture to f/45 or (much) smaller (higher numbers f/number) does not do a lot, so we used "tilt" (in English "tilt" in a narrow sense only refers to up/down and "swing" to horizontal rotations) as a way to alter the focused on plane.
The idea was not principally to use it for getting things out of focus as that is very easy with a large format lens even when it is f/8 or f/6.3 at fully opened aperture.
The write-up here is from the stills-photography point of view. As an alienating or artistic effect in cinematography, it has its merits as demonstrated in the video. But, I still remember the first zoom lenses in TV broadcasts and camera operators zooming in and out "ad nauseam". It must have a function in the storytelling or else it is a gimmick.
Essential in this "focal plane" thing and essential to quickly understanding it, is "Scheimpflug's Law". This involves (1) film/sensor plane, (2) focused on subject plane, and (3) the lens plane that is perpendicular to the lens's optical axis.
Scheimpflug (shime pfloog) postulated that we are "in focus" when these 3 planes intersect in one shared intersection line. How is that possible in the default case where these 3 planes are parallel? Well, in geometry one of the first axioms we learn, is that parallel things intersect at infinity distance, so the axiom explains Scheimpflug's Law in the parallel case.
By (tilt) rotating these 3 planes we also rotate the Depth of Field and affect how its depth evolves.
As large format cameras rely on adjustments of the 2 planes at the camera's side, the adjustments are not integrated into the lens, but a feature of the camera that basically is a bellows between a mount for a film cassette on one side and the lens board at the other.
Note that being in focus, while lens tilted, in terms of Scheimpflug, we get another focused on plane when we change the focusing distance, and may have to adjust the tilt consequently. Large format cameras got developed that suffer less from this because they tilt (swing) differently (cf. Sinar P). But this adds to the camera's bulk and weight.
"Aerial" photography may have invented "tilt/shift" lenses that integrate the T/S into the lens's barrel, though.
The critical factor in T/S photography is the lens's "image circle" with fully opened aperture that is part of its design. We would have large format lenses for "8"*10" " that actually only gave an image circle of the required size when stopped down considerably.
When a lens "vignets" (verb) at fully opened aperture, this may mean its image circle is not perfectly covering the camera's format.
There are two ways in which a T/S lens is limited in degrees of freedom: the image circle and the cutting off of the projected image by bellows (or lens barrel) and/or camera mount.
Having a wider bayonet mount diameter is better and having a shallower flange distance is better. But still, your adapter and the lens you put on it are decisive even with the widest shallowest mount characteristics (Nikon Z mount). The video demonstrates a stitched panorama from two shots and here the lens clearly vignets. To mitigate cut off in the camera, "we" used a wide-angle bellows when shooting with a wide angle lens. With integrated T/S lenses that is not possible. You can still buy a T/S camera with all these adjustments designed specifically for your digital camera as its "back" (cf. Cambo).
The video focuses first on "bokeh" and using tilt as a way to get selective bokeh, but as indicated, "we" would use it to get things in focus that we could not get in focus by stopping aperture down - because there was not enough DoF in our lenses. The toy effect, in the past, was considered just that.
To get a lens with a larger image circle, you could try lenses for larger format cameras than the camera you have. For example a lens for a 4.5cm * 6cm camera. These may be affordable, second hand.
The shift "we" used primarily as a way to get something in frame that would require tilting the camera if we had no shift. When you tilt your complete camera then you alter the perspective. Look up at a tall building and you'll see that its top is narrower - in your vision - than its bottom, even when the building has parallel sides. If you can keep the camera level/plumb then objects with parallel features when plumb/level retain that parallelism in the camera's image. The video demonstrates this.
If, say in New York city, you want to shoot the Flatiron Building (originally called the Fuller Building) with parallel vertical lines then you can do three things:
(a) use a shift lens of wide enough angle, keep the camera/lens/subject all parallel and use the shift to get the top of the building in frame.
(b) in absence of a shift camera/lens, use a much wider angle lens, and with everything parallel (plumb/level) you now get way too much foreground that you crop away later.
(c) shoot with a tilted camera (no T/S) thus rendering parallel lines (in the 3D real world) as converging lines in the 2D depiction of the subject. In post, make "perspective" adjustments. I write "adjustments" rather than corrections, because the converging lines are geometrically perfect but just not what we wanted. Depending on the lens's qualities and features, the tilting-without-T/S of the camera/lens combination may actually give you a DoF problem. Note that using tilt does not maintain parallelism in the way shift does.
The late, great, famous portrait photographer Yousuf Karsh shot his portraits (during his career he held 15,312 sittings and produced over 250,000 negatives) generally with an 8"*10" camera with a 14" (355.6mm) lens on it. But generally had a 4"*5" adaptor in the back of the camera, thus shooting "cropped". The large format camera Karsh used the longest time, was a vanilla brand simple one that had limited adjustments. The lens he used was a "commercial" (i.e. professional) one from the Eastman Kodak company. My perception (prejudice) is that Karsh never applied T/S in his portraits.
Alternatively to a T/S lens, you can try "focus shift" shooting where you shoot the same image repeatedly, but each time shift the focusing distance a bit. In post you can stack these and in the stacking decide which zone from which layer(s) you want to include in the final image.
But, this has "time parallax", as the constituent parts of your later final image got taken at different moments in time.
When you shoot "movie" with a camera that has a smaller than "full frame" sensor, then you can easily use full frame lenses because they have a larger image circle. But, you must be able to source the T/S adapter that turns a normal lens into T/S (these adapters are the main subject in this video), or use a full frame T/S lens with a simple mount adapter, bu the T/S lens likely will be rather expensive, even second hand.
You won the longest comment ever written on my channel ! Congratulations
@@MathieuStern - thank you, and let's face it, its reading time is shorter than your video. But hey, men cannot listen and read, while being great at visuals.
Some things to note with tilt-shift adapters:
[1]
Expect heavy vignetting if the lens matches the sensor size. Ideally, you'd want to use a lens with an image circle larger than the sensor of your camera (ex. an APS-C sensor behind a lens intended for full-frame cameras).
[2]
Pretty much all tilt-shift adapters have the tilt motion and shift motion move perpendicular to each other. Unlike freelensing, you cannot shift in a parallel direction to offset the heavy vignetting from a tilt.
[3]
For a tilted lens, foreground bokeh (i.e. anything between the camera and the plane of focus) looks nasty compared to background bokeh. The look is very different from the bokeh of a non-tilted lens.
[4]
Most normal lenses cannot focus beyond infinity. When using tilt-shift adaptors, this means that there will be areas in your image frame that would be impossible to focus on for certain tilt orientations.
A number of Sony wide angles have an awful lot of software correction going on wonder how it would deal with that
@@jimstirling7223
I don't think the camera could do much about it since these adapters don't pass metadata. And even if some future tilt-shift lens were to do so (ex. Canon's planned tilt-shift with autofocus), I doubt that they would include the tilt/shift information in the metadata, let alone have in-camera profiles for correcting every possible configuration.
also this adapter is not cheap. its costs almost 220 euro
I just bought this adapter , to avoid vignetting i bought a Pentax 645 45-85 zoom lens with the adapter to fit my canon R8. the lens is designed for a much larger film /sensor size and covers way outside the sensor of a full frame camera , so no vignetting
@gordonyoung1970 hi, thank you for your info. Much appreciated. I'm very new to tilt shift lens, and I just got my R8. Which adapter did you purchase to work with your pentax lens? And do they work well for architectural and landscape shots?
You never fail to push the boundaries of photography!
A friend of mine has a tilt-shift lens and it's his most used for travel photography - so much so that he's worn the paint off in places. They're also useful in real estate photography when you're in a confined space and have trouble using a regular wide-angle lens at an awkward angle. You can also take pictures of mirrors without having a reflection of the camera.
I went to Europe for a holiday and took only an 85mm and a 24mm TS. :)
I have a TSE-24 and have been considering these adaptors for playing with different length lenses.
One additional use you didn't mention is the ability to take a photo looking straight into a mirror without the camera being in it.
nicely timed video, i just ordered a TLT ROKR about a week ago and can't wait to experiment with it using all kinds of weird lens combos
I know its dificult to make such am adapter for the same mount on both sides since this sould result in the lense being furthur away from the sensor then intendet, reducing the fokus distance and effective f-stop and so on. But still, nice that this is an "adapter replacers", But I want an actual adapters to "convert any lense into a tilt shift lense." That means same mount on both sides.
me too sad. They basically dont have anything for nikon bodies.
They also don’t support ANY Sony E mount lenses.
Which adapter make the E mount lenses shift on Sony Camera?
Or can only the non-E-mount lenses shifted?
impossible
I'm absolutely stunned by how cinematic those panoramic shots are!
That worked really well with the smoke, superb footage loved that bit
You're getting close to building the idea i have had of making a digital movie camera that has a video sensor on a gimbal to act in a similar fashion as a old style view camera. One could then program degrees of movements at various speeds of tilt and swing to move the field of focus to draw the viewers' attention or for dramatic effects.
You can TEELT and SHEEFT! 😂😂😂
I kid! Matt, your choice of music is wonderful.
Great review of the possible uses for a T-S lens.
I have used Tilt Shift since I got Canon 90mm and 35mm T-S on eBay. Then switched to using them on Sony E mount with an adapter. The Sony Focus Peaking display makes using T-S much easier.
Too bad they don't offer E mount to E mount to get T-S with any Sony lens.
80s synch music is so vibrant, so nolstagic, so atmospheric, so very nice!
The ambiance is beautiful! 😊
This past few days I discovered tilt shift and was devouring videos about it, then I discovered the price, and then you arrived like a savior enshrouded in light.
that's what I do ;)
Hi! E-mount to e-mount adapter exists?
I know this might be crazy but is there a tilt shift adapter for Sony lenses to a Sony E mount? I can’t seem to find one.
Wait - why don't these tilt adapters work with matching lenses and mounts? For instance, there's no EF-to-EF or L-to-L.
It's due to the Flange Distance between the lens mount and the camera mount.
The adapter would add more distance, and thus, the resulting image would be totally out of focus... and even more so after the Tilt/Shift adjustments. 😢
Hello. Merci pour la vidéo. Cette bague n'existe pas pour les montures L ?
Great video.. :) What is the lens that is used for the "panorama"? Is it a Helios 58mm? Looks like it should cover my GFX..
No, tilt shift lenses were never for aerial photography, because in aerial the focus plane is a mile away away you always get perfect focus at infinity, and that's not a TS camera in the image at (0:12).
So no adapter for E-Mount to E-Mount?
impossible
I shoot medium format with Hasselblad X2d and FujiFilm GFX is there a mount like this? I'd like to try in comparison so the GFX tilt shifts I have.
Shift is very limited with 35mm lenses on 35mm cameras since the image circle will not be large enough and medium format lenses will not be very wide on 35mm sensors or smaller.
Hellow mat, I have a sankyo zoom lens from sankyo super cm 300 super 8 film, but deadly. So i just take the lens. Did u know what mounting that lens? Is this possible use c mount adapter mounting for micro four third. I know u r the expert of this
Thank you Matthew for sharing this video. You certainly showed all the features of owning one of these adaptors which I bought about six months ago and haven’t had the time to really use it. It works, especially well if you use full frame lenses on crop sensor cameras, for the benefit the larger image circle of the full frame lens, thank you for sharing this and look forward to other videos from you. Regards, Gerry.
Glad it was helpful!
I fell in love with the night shots
What was the lens used at 5.10 to get the flare ?
5:11 this is a very awesome frame.
Fujifilm ?
Any lens? Any adapter for a Pentax 67?
I wish they had X mount
This looks amazing but I have never heard of a tilt shift lens for aerial photography !!!
And I was an airforce photographer and have used the cameras you pictured :-)
Thanks for sharing! so what technique did you use ?
Can't you achieve most of these effects in post?
I can finally feel good about my apsc camera
No K mount?
I really wish there was a sony e to sony e version of this tilt shift adapter!
Definitely want to see it combined with the sigma 14mm f1.8 for ultra wide but crazy shallow DoF.
I'd be interested in seeing the results from your Takumar 18mm paired with the tilt shift adaptor
Doesn't look like there is a tilt/shift adapter for Pentax lenses though. Shame.
@@davidb9682 the 18mm is old school thread mount so its an M42 adaptor you will need (adaptors on adaptors 😄 )
Do you know why there are no E-Mount to E-Mount adapters available?
I think it should be obvious. As a general rule you can only adapt DSLR lenses to mirrorless cameras because the lens has to have a larger flange distance.
Which of these adapters should I choose to use the lenses for my Canon 6D camera with tilt-shift? Seems like I would need an Canon EF to EF adapter, but all these adapters seemt to be from one type of mount, to another?
it's impossible to use a lens from a mirrorless camera on the same camera, it would put too much distance to the sensor
@@MathieuStern Oh, my camera is actually an SLR camera, but I guess it would be the same problem then. And that only certain combinations of lenses and cameras/mounts will work.
It would be nice (better) to do the tilt shift in camera instead of with Photoshop. I guess Adobe did us a favour btw by introducing intolerable terms, now we must take proper pictures in-camera, again as before, so we don’t need Photoshop or AI. 😛
Nice video anyway, thanks! 🙂👍
I wish they made an M42 to Sony E version. Is there some technical reason why not?
Flange distance maybe?
Can you make a video about turning a Camera into UV light filter
Ah yes. The tilt/shift. Back in the day, I would always rent such a lens when shooting architecture. the rubbery bellows thingy was a fun experimental adapter, but this Fotodiox seems to be a solid modern tool. It doesn't look like it electronically connects the lens when in place, but that's okay. Just shoot manual. I shoot Nikon (F mount). It doesn't look like it will maintain proper film plane so even using native lenses will force this to make the lens a bit of a "macro" lens. I see you used a Sony cam with a Canon lens. Canon to F-mount could work with interglass, but... it's the whole focal plane issue. Anybody experience that?
I also have an F-mount camera, and it looks like for that they only make shift lenses without tilt (and only ones that accept medium-format lenses like Pentax 67), presumably because even with the extra space to the film plane afforded by medium-format lenses, they couldn't fit a tilt mechanism.
@@BrooksMoses Why Nikon, why? Now I gotta get a Sony. You know, I'm looking at the Nikon Z6III. I simply can't dump all my Nikon stuff.
As an architecture photographer, man this is a dream. Considering the insane price of TS lens. But will it vignette at the edge of the frame? Does it available for canon rf?
Yes, I put links to RF mounts in the description
Also super interested in the use of Architectural photography. I love the idea of being able to use multiple medium format lenses with shift functionality. However, without purchasing the shift adapter, I cannot determine whether the vintage medium format lenses truly live up to the quality and if they are suitable for professional use. I suspect so albeit without the modern conveniences.
But same problem as with lens babies - there is nothing 100% sharp in the picture anymore?
No link to adapter?
in the description
I wonder why the T/S adapters aren’t for the same mounts. Like why didn’t they create an EF to EF adapter 🤔
Its not possible. It would act like an extension tube, and totally screw up your focus, by moving the lens plane of focus well away from the sensor. This adaptor is for using lenses designed for SLRs, on mirrorless cameras, with their much shallower back focus depth.
@@wombat3024 Oh I see. That's a shame but you can't argue with physics lol
I got pretty much the same look just by free lensing. Works with any lens.
Super cool!! Great Video! Thank you!
Again, such a good video.
👍🏾👍🏾! Thank you, Mathieu! Beautiful shots you gotten from this adapter.
Thank you very much, sir.
I guess it works for experimental video but for photos I honestly don't see the point. Apart from maybe trying for a dreamlike aesthetic, but still, the cutoff between blur and sharp areas is too visible
No L-Mounts huh? Tilt shift might be uncommon for video, but those of us on Lumix or Blackmagic cameras would like the option.
Too bad none of my digital cameras have removable lenses
Wow, just wow.
Nice portraits
Ok, I need such an adapter for MFT mount. ... From MFT to MFT.
That would not be possible, since the flange distance needs to be less for the lens to make space for the adapter.
@@mjl1958 that changes with extension tubes too. And we have speed boosters and teleconverters too.
So I guess it's not impossible to make a tilt shift extension tube which is also corrected for the flange distance. At least to some degree.
@@FelanLP Extension tubes are for close focussing and do not allow infinity focus - they just give you a new starting point. Speed boosters are for adapting older SLR lenses, with a different flange distance. MFT to MFT adapter is just not possible.
@@mjl1958 I know. But we have the technology to "adapt" the same mount (extention tubes), we have the technology to enlarge an image (teleconverter) and to shrink it (speed booster). There has to be a technology to correct the flange distance too. Maybe by using some sort of prism or so.
@@FelanLP You are wishing for something that cannot exist. An MFT has a fixed flange distance; anything that goes between the MFT lens and an MFT body would change that distance (as with extension tubes). Teleconverters and speed boosters have optical elements that change the properties of the lens. Tilt and shift involved changing the position or angle of the lens relative to the sensor - this cannot be achieved with additional lenses.
Bummer there is no RF to RF adapter.
It would act like an extension tube, and totally destroy your focus, by moving the lens plane of focus well away from the sensor
@@MathieuStern
Yeah, that makes sense. Good call.
No Pentax mounts?! What a shame..
Avec tous les objectifs argentiques légendaires de la marque, je m'attendais à mieux.
Passionant
I'm not hating on you, but why does every video of tilt-shift lenses have to come with a short history and explanation of what they are?
because everyone is not as smart and educated as you my friend :)
I was just thinking about how much I appreciated it tbh. I had heard of it, and seen tilt shift photographs, but I never knew the lens literally tilted lol. Much less its history. Nifty stuff, the videos not even 10 mins long, well done btw
Its still insanely expensive but yeah
that's SICK. If I had, you know, a camera, or money, I'd be all over it!
You sound like Charles Leclerc 😄
I wish I sound as good as him :)
❤
Tiens, l'observatoire de Meudon... mince alors, but you are french !
You can do 98% of this in post...
you can do 100% in post if you use AI to generate the image
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