THE Best Tilt Shift Lens For Architectural Photography to try!

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In a quest to know the Best Tilt-Shift Lens For Architectural Photography? Then here is detailed information you need to know about them.

Name Where To Buy
  • Canon 135mm f/4L Macro -Tilt-Shift DSLR Lens
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  • Nikon PC 19mm f/4E ED
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  • Nikon PC-E Micro 45mm f/2.8D ED
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  • Laowa 15mm f/4.5 Zero-D Shift Lens
  • Canon TS-E 24mm f/3.5L II Tilt-Shift Lens
  • Canon TS-E 45mm f/2.8 Tilt-Shift
  • Canon TS-E 90mm f/2.8 Tilt-Shift Lens

Best Tilt-Shift Lens For Architectural Photography

Canon 135mm f/4L Macro -Tilt-Shift DSLR Lens

Canon’s 28-135mm f/3.5-5.6 IS lens is a fantastically flexible lens. It’s my preferred Canon all-purpose zoom lens for full-frame digital and 35mm film.

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The 28-135 EF IS USM is simple to use, performs admirably, covers a large range, offers fast manual-focus override, and focuses quite close. What more could you ask for? What is image stabilization? It also has that!

The 24-105mm f/4 L is nearly three times the price (approximately $1,100 against $450), but I still like this 28-135mm because it’s lighter and simpler to wield.

This 28-135mm is simple to focus and zoom, in contrast to the 24-105mm f/4 L, which I found difficult to zoom precisely at the wide end, and the focus ring on this 28-135mm is much better positioned.

I can focus this 28-135mm with a single thumb on its rubbery ring, whereas the 24-105mm L requires two fingers to turn a larger, less gripping ring. I enjoy using this 28-135mm lens, as the 24-105mm was a real pain and a much heavier.

If you want the best technical image quality, most people shoot with wide zoom and tele zoom, and a quick, fixed medium lens if at all, rather than a midrange zoom. Midrange zooms are for entertainment, and this is the greatest.

I’ve wanted this Canon 28-135mm lens since it was released in February 1998. My Nikons and fixed lenses would be out shooting, while my friends would be out shooting with their Canon A2Es and these 28-135mm lenses.

My initial impression was that those Canon shooters had it all: a wide-angle lens, a telephoto lens, a stabilized camera, and all I had to do to adjust the focus manually was the flick that little ring.

All Nikon had back in 1998 were clunky devices with limited zoom ranges, Nikon lenses required switching from auto to manual focus and back again, and IS or VR wouldn’t be available in any Nikkor SLR lens until the new millennium.

How nice is the Canon 28-135mm IS now that I’ve waited nearly a decade to try it? It’s excellent; in fact, it’s my favorite Canon midrange zoom.

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The 28-135mm IS is an excellent choice for full-frame and film photography. It’s a ridiculous zoom range for 1.6x cameras like the 50D and Rebels, even though Canon frequently included it as a stock lens with the 40D and 50D.

The 28-135mm makes excellent use of plastic. It’s quite light, and it’s constructed of high-grade, precisely-cut plastic that exudes quality. It makes use of metal where it is necessary, such as the mount.

Nikon PC 19mm f/4E ED.

Tilt-shift lenses provide several advantages over regular lenses, but they are expensive, difficult to use, and come with a few drawbacks. First and foremost, the Nikon 19mm f/4E PC is a manual-focus lens.

To get sharp focus, you must use either the viewfinder and focus indicator or the live view screen with subject zooming.

Furthermore, when doing extreme tilting and shifting, the focus indication does not function, making the live screen focusing the recommended technique.

The Nikon 19mm f/4E PC lens is not suitable for all Nikon cameras. The shift and rotate mechanisms are placed near the lens mount; movement of these parts may be limited by camera bodies with parts near the mount. Also, on some older bodies, the electronic aperture is inoperable.

Nikon’s professional lenses have continually pleased me with their high build quality and ergonomic design. In this regard, the Nikon 19mm f/4E PC is no exception.

The lens barrel is made of metal and high-quality polymers. I was taken aback by the size and weight of this lens, anticipating it to be compact given the f/4 aperture. It is, however, just somewhat lighter than the Nikon 14-24mm f/2.8G, which weighs 969g.

The focus ring is conveniently situated near the lens’s end. Because this lens is exclusively manual focus, Nikon made sure the focus ring was well-dampened, making precise focus adjustments a snap.

To be clear, manual focusing on the Nikon 19mm f/4E PC is far superior to most autofocus lenses, which prioritize motor speed above manual precision.

ALSO SEE: Best Fuji Lens For Architectural Photography

Best Tilt Shift Lens For Architectural Photography

Nikon PC-E Micro 45mm f/2.8D ED.

The 45mm /2.8 PC-E is a sharp lens, although not as sharp as one might anticipate for a $1,800 lens. The lens works slightly better on the D300s, where modest concerns with corner softness are less frequent; at /4, it becomes nearly tack-sharp, and only slightly better at /5.6.

Any further stopping-down just slightly reduces image sharpness, but not much. Diffraction limiting is seen by /16, and additional softness is visible at /22 and /32, where overall image sharpness is noticeably reduced.

The lens is tested on the full-frame Nikon D3x. The center portion of the frame has outstanding sharpness when shot wide open at /2.8, although there is evidence of not minor corner softness (on our sample copy, more so on the left side than on the right). Stopping down to/4 eliminates this corner softness, resulting in outstanding corner-to-corner sharpness.

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Similar results are available at /5.6 and /8, and diffraction limiting begins at /11 with a small drop in overall image sharpness. Image sharpness is more significantly impacted at /16, and images are notably fuzzy between /22 and /32.

Laowa 15mm f/4.5 Zero-D Shift Lens.

The Laowa 15mm Shift lens boasts a 110° field of vision and a massive picture circle with a 65mm diameter. This allows it to be used on both medium format and full-frame cameras, with the maximum vertical shift for the former being 8mm and 11mm for the latter.

It is not only the world’s widest full-frame shift lens, but it is also the world’s widest lens for a medium format GFX / Hasselblad sensor. In short, it’s a formidable medium format alternative for shooting architecture and interiors.

The optical distortion is extremely carefully controlled as part of Laowa’s Zero-D (“zero distortion”) series, which is critical for this lens’ intended use.

This is made possible by a complex optical formula consisting of 17 elements in 11 groups, two of which are aspherical.

With 5 aperture blades, the lens can create stunning 10-point sunstars for night cityscapes and even daylight work.

It also has an outstanding minimum close focusing distance of just 20cm, allowing you to test your imagination or the proximity of your subject.

Canon TS-E 24mm f/3.5L II Tilt-Shift Lens.

The Canon TS-E 24mm f/3.5L II is a special-purpose lens that tilts and shifts to simulate the movements of large-format cameras for serious landscape, studio, tabletop, and architectural photography.

Tilt allows you to tilt the plane of focus to get perfect focus along any plane, not simply the plane of the sensor, as is the case with a standard camera. We can bring the ground, a wall, or a tabletop into perfect focus by tilting the lens, from inches away to infinity.

Shift allows you to keep parallel lines parallel even when looking up, down, left, or right instead of directly at a topic. For example, pointing a camera up at a skyscraper causes the top to appear overly small.

This unusual lens allows the lens to be shifted up, allowing the camera to remain horizontal and, as a result, the building to remain straight. It is possible to tilt and shift at the same time.

Metering does not work when the camera is relocated; you must lock or meter the exposure in the unshifted position before shifting back to your desired position.

It can be used hand-held, but for the most exact results, for which people pay for this lens, it is best used with a tripod. For the finest outcomes, the movements should be performed with great care.

Fine photography necessitates these motions. They allow us to define precisely what is or is not in focus, as well as change the relative sizes of things and simply keep lines parallel.

These movements can be used in the opposite direction of their traditional usage to limit a plane of focus and accentuate a towering perspective.

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Shift allows us to shoot right into a window or mirror without being noticed in the reflection. The least innovative use of these lenses is stitched panoramas.

It only has a manual focus. Take note of the absence of the “EF” electronic focus marking.

Canon TS-E 45mm f/2.8 Tilt-Shift.

This lens is a fantastic find! It is, in my opinion, the most versatile TS lens on the market! I primarily use it for artistic bridal portraits!

This lens has unrivaled potential for producing amazing photographs! This lens is very useful when shooting in settings that aren’t particularly unique.

Simply shoot a pair or a person against a blue/cloudy sky to make use of the tilt effects of this lens!

For a long time, I refused to purchase this lens because it only has a manual focus, which turned me off.

However, the tilt effects are obvious in Canon’s live view, especially when magnified 5-10x. In addition, for manual focus, I recommend utilizing the Canon focus screen EG-S.

It’s a little darker than the other focus screens, but it makes focusing so much easier and more exact.

I don’t use the shift feature of the lens as frequently as I do the tilt function, but when I’m doing architecture, it’s a must!

When utilizing this lens for wedding photos, I strongly advise having a two-camera-body arrangement. Due to the lack of autofocus, it is unsuitable for wedding reportage.

Canon TS-E 90mm f/2.8 Tilt-Shift Lens.

I only have the 24LII, 85LII, and 200 2L IS. After trying the TS-E 90, I decided it deserved to be in the same league as the lenses mentioned above.

Although it is not an L-series lens, I have tried the new Nikon PC-E 85 2.8D ED Micro-Nikkor, and the construction quality of the TS-E 90 feels even superior.

This is an extremely high-quality lens. The sharpness is outstanding, and the bokeh is even more so. The combination of the two points mentioned above is the best feature of this lens.

New lenses frequently lack decent bokeh because they have big apertures and makers use aspheric elements to rectify spherical aberrations.

It has extremely good sharpness and bokeh because it is not an overly ambitious design (very slow aperture and basic optical construction). In terms of sharpness, I’m prepared to wager that even outperforms the new Hartblei Super-Rotator 80mm f/2.8 (“Optics by Zeiss” variant).

The only thing I would change about this lens is the lack of axis matter, which is present in the TS-E 24L II, TS-E 17L, and Hartblei’s Super-Rotators.

The good news is that this is a modification you can make at home, and there are plenty of examples on the internet of how to accomplish it.

According to what I’ve read, the new (and equivalent) PC-E 85mm 2.8 Micro-Nikkor must be sent to the Nikon servicing facility because the alteration is significantly more sophisticated.

Author: Howard S. Baldwin

My name is Howard S. Baldwin. I am a work-at-home dad to three lovely girls, Jane + Hannah + Beauty. I have been blogging for the last 3 years. I worked for other Home and Lifetsyle blogs, did hundreds of product reviews and buyers’ guides. Prior to that, I was a staff accountant at a big accounting firm. Needless to say, researching and numbers are my passion. My goal is to be an informative source for any topic that relates to DIY life and homemaking.

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