A low-angle, wide shot of the Bow River near Banff, Canada. What this does, essentially, is apply a variable amount of blur to different portions of the frame.įinal Cut includes a tilt-shift effect, but they didn’t call it that. However, we can also use this during post to emulate depth-of-field. When applied to high-wide shots, this creates the illusion of looking at a model, as you can see from the screen shot above. Source image on the left, with the effect applied on the right. What’s interesting to me is that we can emulate the effect of these lenses in Final Cut. Here’s what a tilt-shift lens looks like – it shifts from its principle axis yet still places an image on the sensor. #TILT SHIFT FOCUS SOFTWARE#This effectively doubles the intensity of the blur.Tilt-shift blurs create the illusion of depth of field, along with other interesting visual effects, by emulating in software a special kind of camera lens called a “tilt/shift lens.” If the effect isn’t strong enough, click New for a new graduated mask, and click and drag over the first gradient. You’ll see the blur appear as you drag let go when you reach the subject. Then click and drag from one edge of the frame toward the center of interest. Next, drag the Sharpness slider all the way to -100. Don’t drop the Clarity in my experience, it muddies the effect. The only one you want to use for this is the Sharpness slider. When you click it, a dropdown panel of sliders will emerge. It’s found right up at the top of the Develop panel, just beneath the histogram. So to better approximate the effect of an actual tilt-shift lens, we’re going to rely on the Graduated Filter. You may be tempted to reach for the Radial Filter to draw a circle around the subject, but the problem with this approach is that a circle of sharpness looks nothing like the way an actual lens creates a plane of focus that cuts through a scene. Lightroom’s Develop module contains some really powerful tools for selectively modifying a scene. I like one approach with Photoshop and another one in Lightroom. But I also know there are lots of great ways to approximate tilt-shift shallow depth of field with a computer. I’m of the belief that nothing looks quite like a real tilt-shift lens. Just a few tweaks in Photoshop creates a totally different look and feel. In this before-and-after comparison, we can see the effects of applying tilt-shift focus after capturing an image. In practice, it means a standing subject’s face might be in focus, but his or her feet are blurry. It’s normally parallel with the lens plane and the sensor plane, but once the lens plane tilts, the focus plane tilts, as well. Simply tilt the lens and look through the viewfinder, and you’ll see that the plane of focus has shifted. It’s the tilt that creates an altered plane of focus. These manual-focus lenses feature knobs and locks that can slide the lens up and down or side to side, or tilt the lens up or down. Whichever focal length you choose, the functionality remains the same. Lensbaby also makes a variety of tilt-shift and perspective-adjusting lenses, which work similarly, depending on which model you use. Nikon (which calls these lenses “perspective control”) offers a PC-E 24mm, a PC-E 45mm and a PC-E 85mm. #TILT SHIFT FOCUS HOW TO#WHAT TO USE, AND HOW TO DO ITĬanon makes a 17mm TS-E, a 24mm TS-E, a 45mm TS-E and a 90mm TS-E. But breaking the rules with a tilt-shift lens is a great way to create funky shallow focus effects. The “correct” way to use a tilt-shift lens is to adjust the lens elements in order to minimize distortion or to shift the plane of focus for massive depth of field. Tilt-shift lenses are often used for architecture and product photography.
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