For example, I usually utilize an aperture of f/11, providing I have correctly made the tilt move. These two move allow little if no distortion to verticals and creates a plane of focus allowing the very near foreground and the very distant horizon to be in focus at a wider aperture than normal. The most common move with a large format camera while creating landscape images is to shift down, then tilt the plane of focus. Landscape photographers jump right in too when the trees in an image suddenly exhibit the same problem. Canon's 24 mm TS II (Tilt-Shift) lens and its new 17 mm TS II (Tilt-Shift) make up the newest line of excellent glass for these photographers. Note that especially with interiors and often for exteriors, the photographer is close enough to the subject that a wide angle lens is necessary. Simply shift the lens upwards and recompose. In effect, you can imagine that this also works very well shooting interior photography when the photographer can't sometimes include a very high vaulted ceiling realistically. This entire process allows the photographer to stand closer to the building and still retain the 'straightness' of the lines. Adjusting this usually requires a repositioning of the camera itself while you shifting the lens, and you will find that you do not need to point the camera as high upwards with the lens shifted as you needed to do when it was not shifted. In fact, the only way to keep the parallel lines at the top of a building would be either to raise myself up to an altitude where I was directly facing the building (perhaps on an adjacent building) or correct this parallax problem by shifting my lens upward in relation to the plane of the sensor. If I were to point my camera directly upwards with a fixed 20 mm lens, this distortion would becomes very obvious. Effectively, this corrects the converging lines in the top portion of the frame, of say, the edges of a building. Twist it and the lens moves up and down relative to the plane of the sensor (or film). 'Each lens is provided with several small knobs, the closest one to the camera being the 'shift' function. There are pros and cons to each method of approaching a problem in photography, and here we will show what a Tilt-Shift lens can provide your photography. There are many 'workarounds' for achieving these goals, and in fact, a Lensbaby may be a very affordable alternative to the more expensive Tilt-Shift lens, and may even produce a greater effect. A photographer may find other ways to accomplish these objectives, but they are often more cumbersome (such as shooting large format film) or using cheaper tools that may degrade the quality of image (like a Lensbaby). Marc: 'The Tilt-Shift lens for dSLRs is strange variation on the normal lens by providing photographers, especially those who shoot architecture, landscape, or generally wide angles to correct for parallax distortion, to increase the depth of focus, and to provide selective focus.

Choosing a tiltshift lens