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Perspective control lens

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(a) Keeping the camera level, with an ordinary lens, captures only the bottom portion of the building.
(b) Tilting the camera upwards results in vertical perspective.
(c) Shifting the lens upwards results in a picture of the entire subject.

In photography, a perspective control lens allows the photographer to control the appearance of perspective by reorienting the lens in relationship to the film or sensor, mimicking certain view camera movements. Lenses which can shift may be called shift lenses, while those which can also tilt may be called tilt-shift lenses. The terms PC and TS are also used by some manufacturers to refer to this type of lens.

This type of lens is used mostly in architectural and other technical photography. Perspective control lenses are generally designed for single-lens reflex (SLR) cameras, as rangefinder cameras do not allow the photographer to directly view the effect of the lens, and view cameras allow for perspective correction using movements.

A perspective control lens has a larger image circle than is required to cover the image area (film or sensor size). Typically, the image circle is large enough, and the mechanics of the lens sufficiently limited, that the film plane cannot be shifted outside of the image area. However, all PC lenses require a small aperture setting to prevent vignetting when significant shifts are employed. PC lenses for 35 mm cameras typically offer a maximum shift of 11 mm.

The first PC lens manufactured for an SLR camera in any format was Nikon’s 1961 f/3.5 35 mm PC-Nikkor; it was followed by an f/2.8 35 mm PC-Nikkor (1968), an f/4 28 mm PC-Nikkor (1975), and an f/3.5 28 mm PC-Nikkor (1981).[1] In 1973, Canon introduced a lens, the TS 35 mm f/2.8 SSC,[2] with tilt as well as shift functions. Other manufacturers, including Olympus, Pentax, Schneider Kreuznach (produced as well for Leica), and Minolta, made their own versions of PC lenses. Olympus produced 35 mm and 24 mm shift lenses. Canon currently offers 17 mm, 24 mm, 45 mm, and 90 mm tilt/shift lenses. Nikon currently offers 24 mm, 45 mm, and 85 mm PC lenses with tilt and shift capability.

Applications

File:Bashford-views.jpg
Example application of lens shift. The photographs, from left to right, correspond to diagrams (a), (b), and (c) above, respectively. The rightmost image employs a shift.

When making photographs of a building or other large structure from the ground, it is often impossible (without shift) to fit the entire building in the frame without tilting the camera upwards. The resultant perspective causes the top of the building to appear smaller than its base, which is often considered undesirable (b). The perspective effect is proportional to the lens’s angle of view.

Photographing from the ground, perspective can be eliminated by keeping the film plane parallel to the building. With ordinary lenses, this results in capturing only the bottom part of the subject (a). With a perspective control lens, however, the lens may be shifted upwards in relation to the film plane, placing more of the subject within the frame (c). The ground level, the camera’s point of perspective, is shifted towards the bottom of the frame.

Another use of shifting is in taking pictures of a mirror. By moving the camera off to one side of the mirror, and shifting the lens in the opposite direction, an image of the mirror can be captured without the reflection of the camera or photographer. Shifting can similarly be used to photograph “around” an object, such as a building support in a gallery, without producing an obviously oblique view.

Another application of shifting is in aerial photography with relatively large exposure time forced by poor light condition of scene. The higher V/H ratio (forward speed of aircraft to its height above ground level) with fixed exposure time results in more image blur in the picture. In this case shifting with the same amount of V/H will negate the image motion effect.[citation needed]

Available lenses

The earliest perspective control and tilt/shift lenses for 35 mm format were 35 mm focal length, which is now considered too long for many architectural photography applications. With advances in optical design, lenses of 28 mm and then 24 mm became available and were quickly adopted by photographers working in close proximity to their subjects, such as in urban settings.

The Arri motion-picture camera company offers a shift and tilt bellows system that provides movements for PL-mount lenses on motion-picture cameras.

Canon currently offers five lenses with tilt and shift functions: the TS-E 17 mm f/4,[3] the TS-E 24 mm f/3.5L II,[3] the TS-E 45 mm f/2.8, and the TS-E 90 mm f/2.8; the 24 mm version II replaces the TS-E 24 mm f/3.5L. The 17 mm and the 24 mm version II lenses allow independent rotation of the tilt and shift movements; the 90 mm lens gives 0.29 magnification, making it usable for moderate close-up work. All five lenses provide automatic aperture control.

35 mm f/3.5 PC-Nikkor lens
2008 Nikkor f/3.5 24mm PC-E tilt-shift lens mounted on a Nikon D700 camera
The 24mm PC-E lens shown in its tilt mode

Nikon introduced the 35 mm f/3.5 PC-Nikkor lens in 1961. It was the first shift lens in the 35 mm format and shifts up to 11 mm in any direction. Nikon currently offers four “PC” lenses, all of which feature tilt and shift functions: PC-E Nikkor 24 mm f/3.5D ED, PC-E Micro-Nikkor 45 mm f/2.8D ED, PC-E Micro Nikkor 85 mm f/2.8D ED, and PC Micro-Nikkor 85 mm f/2.8D. The 45 mm and 85 mm “Micro” lenses offer close focus (0.5 magnification) for macrophotography. The PC-E lenses offer automatic aperture control with the Nikon D3, D300, and D700 cameras. With earlier camera models, a PC-E lens operates like a regular Nikon PC (non-E) lens, with preset aperture control by means of a pushbutton. The PC Micro-Nikkor 85 mm f/2.8D lens offers only preset aperture control, actuated mechanically by pressing a plunger.

On both the Canon and Nikon lenses, the mechanisms providing the tilt and shift functions can be rotated 90° to the left or right so that they operate horizontally, vertically, or at intermediate orientations. The lenses are supplied with the tilt and shift movements at right angles to each other; they can be modified so that the movements operate in the same direction.

Hartblei makes tilt-and-shift lenses to fit various manufacturers’ camera bodies. It currently offers four Super-Rotator Tilt/Shift lenses for 35 mm bodies: the TS-PC Hartblei 35 mm f/2.8, the TS-PC Hartblei 65 mm f/3.5, the TS-PC Hartblei 80 mm f/2.8, and the TS-PC Hartblei 120 mm f/2.8. It also offers the TS-PC Hartblei 45 mm f/3.5 to fit several medium-format camera bodies. The tilt and shift movements can be independently rotated in any direction.

In July 2008, Hasselblad announced a tilt-and-shift adapter, the HTS 1.5, for use with the HCD 28 mm f/4, HC 35 mm f/3.5, HC 50 mm f/3.5, HC 80 mm f/2.8 and HC 100 mm f/2.2 lenses on H-System cameras. To allow infinity focus, the adapter includes optics that multiply the lens focal lengths by 1.5. Autofocus and focus confirmation are disabled when using the adapter.

On September 22, 2008, Leica announced a 30 mm tilt-and-shift lens for its new S-System of digital SLRs.

Schneider-Kreuznach offers the PC-Super Angulon 28 mm f/2.8 lens that provides shift movements, with preset aperture control. The lens is available with mounts to fit cameras by various manufacturers, and also with 42 mm screw mount.

In 2008, Zenitar announced 35 mm f/2.8 and 80 mm f/2.8 tilt-and-shift lenses for Pentax K mount, but has been making M42 versions for years.[citation needed]

Introduced at Photokina 2008, the Sinar arTec camera offers tilt and shift with the full range of Sinaron digital lenses.

All perspective control and tilt/shift lenses are manual-focus prime lenses; most are quite expensive compared to regular prime lenses. Some medium format camera makers, such as Mamiya, have addressed this problem by offering shift adapters that work with the maker’s other prime lenses.

Aperture control

Main article: Aperture control

Most SLR cameras provide automatic aperture control, which allows viewing and metering at the lens’s maximum aperture, stops the lens down to the working aperture during exposure, and returns the lens to maximum aperture after exposure. For perspective-control and tilt/shift lenses, the mechanical linkage is impractical, and automatic aperture control was not offered on the first such lenses. Many PC and TS lenses incorporated a feature known as a “preset” aperture, which allows the lens to be set to working aperture and then quickly switched between working aperture and full aperture without looking at the aperture control. Although slightly easier than stopped-down metering, operation is less convenient than automatic operation.

When Canon introduced its EOS line of cameras in 1987, the EF lenses incorporated electromagnetic diaphragms, eliminating the need for a mechanical linkage between the camera and the diaphragm. Because of this, the Canon TS-E tilt/shift lenses include automatic aperture control.

In 2008, Nikon introduced its PC-E perspective-control lenses with electromagnetic diaphragms. Automatic aperture control is provided with the D300, D3, and D700 cameras; with earlier cameras, the lenses offer preset aperture control by means of a pushbutton that controls the electromagnetic diaphragm.

Perspective control in software

Main article: Perspective control

Computer software (such as Photoshop's perspective and distort functions) can be used to control perspective effects in post-production. However, this technique does not allow the recovery of lost resolution in the more distant areas of the subject, or the recovery of lost depth of field due to the angle of the film/sensor plane to the subject. Areas of the image which are enlarged by these digital techniques may suffer from the visual effects of pixel interpolation, depending on the original image resolution, degree of manipulation, print/display size, and viewing distance.

Post-production cannot duplicate the effect of using tilt or swing movements on a tilt/shift lens.

References

  1. ^ "Tale Seventeen : PC-Nikkor 28 mm f/4". Nikon Corporation.
  2. ^ Canon TS 35 mm f/2.8 SSC lens. Canon Camera Museum
  3. ^ a b Canon introduces 17mm & 24mm TS-E lenses
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