The best tilt-shift lenses enable you to tilt the angle of the optical path, relative to the image sensor. These two adjustments let you control the plane of sharp focus and correct converging verticals in architectural shots. It might sound revolutionary but, in fact, large-format film cameras were taking this sort of thing in their stride, more than a century ago.
These lenses therefore work very well for extreme close-up photography, where gaining sufficient depth of field is always a struggle. The shift function gives you the ability to take control over perspective effects. A classic use of the shift function is in architectural photography. Shoot from ground level with a regular lens and tall buildings will appear to lean inwards towards the top. By dialling in the necessary amount of shift, you can counteract the appearance of walls tapering inwards as they rise up.
Another neat trick of applying shift is that you can shoot directly into a mirror and remove yourself and the camera from the reflection. However, the older Nikon PC-E lenses featured in our guide only have a single rotation mechanism. The whole lens assembly can be rotated but, by default, the axes for tilt and shift functions always remain perpendicular to each other.
You can have a PC-E lens reconfigured at a Nikon service centre, so that its tilt and shift functions operate on the same axis. This orientation is generally preferred by landscape photographers. Canon and Nikon pretty much dominate this sector and at the moment, while they're only available for each of the company's range of DSLR cameras. We're yet to see a tilt-shift lens launched for a mirrorless camera as of yet from any of the major manufacturers. If you're looking for something more affordable, then there are a range of Lensbaby optics that mimic the tilt affect though not shift movements.
The same holds true for shooting architectural interiors, where space can be even more limited. Typical of most Canon L-series lenses, it has a robust, pro-grade construction that includes comprehensive weather-seals.
The high-quality optical path includes a large, precision-moulded glass element and four UD Ultra-low Dispersion elements, to boost sharpness and contrast while keeping tight control over chromatic aberrations. The lens can focus down to just 0. The 24mm focal length of this lens works well for most architectural photography.
The viewing angle is less extreme than in the sibling TS-E 17mm, but should prove sufficient even for shooting large buildings from fairly close in. The amount of shift on hand should prove ample for correcting perspective, while the tilt range is a little more generous than in the 17mm lens. Further bonus are that this lens has an attachment thread for easily accommodating filters, albeit with a fairly large 82mm diameter, and you can shoot with a hood fitted, which is good for physical protection of the front element as well as for reducing ghosting and flare.
The Mark II edition of the lens delivers improved image quality, with better sharpness towards the edges and corners of the frame. As with the 17mm lens, this one includes a large, precision-moulded aspherical element and four UD elements, along with high-tech SWC Sub Wavelength Coating. Canon claims this is an ideal lens for landscape and architectural photography although many might prefer the more generous viewing angle of the TS-E 24mm.
This lens also adds 0. Two UD elements are featured in the optical path, Low Voltage Landscape Lights Are Dim Pro along with dual, high-tech Air Sphere and Subwavelength Coatings to fend off ghosting and flare.
A focal length of around 90mm to mm is usually ideal for macro photography, as it enables a natural working distance of around 30cm between the focal plane and the subject. That distance extends to 39cm in this case, as the lens delivers a maximum magnification ratio of 0. Even so, that enables massive enlargements of tiny objects in close-up photography.
Indeed, TS-E lenses are all very hands-on affairs, as they lack autofocus and everything needs to be set up manually. Canon says this lens is geared more towards studio use, and its 0. The older PC-E lenses only have a single rotation mechanism, but this one has two.
Crucially, this enables you to alter the axis of the tilt function relative to the shift function on the fly, without needing to send the lens away to a Nikon service centre to be reconfigured.
The 19mm focal length allows you to shoot even tall buildings from a fairly close distance and is also perfect for cramped architectural interiors, where your back can literally be up against the wall. The viewing angle of a 24mm wide-angle lens is ideal for architectural photography from a natural distance, while the shift facility of this lens enables you to correct perspective and stop vertical edges of from appearing to lean inwards.
Unlike the newer PC 19mm lens, this one only has a conventional, single rotation mechanism, so you can only apply tilt or shift in perpendicular planes to each other, which is of less use for landscape photographers.
You might not be able to squeeze very large buildings into the image frame, at least from the confines of city streets, but the 45mm focal length of this lens gives a very natural viewing perspective for general shooting. Naturally, you can still correct perspective errors with the shift function of the lens, as well as controlling depth of field with the tilt option. As usual with PC-E lenses, rather than the newer PC 19mm Nikkor, tilt and shift functions are locked in perpendicular axes, whether the lens is rotated for landscape or portrait orientation shooting.
And as with other PC-E lenses, the overall range of tilt and shift movements can be limited when using some camera bodies mostly DX bodies , due to the close proximity of the lower front edge of the viewfinder cowl.
This lens gives a 0. That makes it ideal for photographing bugs and other small items from a comfortable working distance, while employing the tilt function to extend your depth of field. The lens is also a good choice for product photography, where the shift function can be equally useful for correcting any perspective effects.
This is the widest shift lens currently on the market with a field of view no other shift lens can match. Unlike the other lenses in this list, however, the Laowa 15mm shift lens does not offer any tilting features. It also has the smallest maximum aperture � although for many people that shoot with these kinds of lenses that may not be an issue.
Aside from having the widest field of view, another major benefit of this lens is the fact that it offers some of the best image quality. It is quite possibly the sharpest lens in the list with details appearing crisp and clear across the frame and even on the edges.
The biggest downside of this lens is that in harsh lighting conditions the lens does suffer from a lot of internal reflections that can reduce image quality by a significant degree.
It only costs between a quarter and half the price of Canon and Nikon tilt-shift lenses to buy, but Landscape Fabric 12 Foot Wide Electron is still cleverly designed and well-engineered. Quality glass included two aspherical elements and two ED elements, while multi-layer coatings are applied to all 16 elements in the optical path. The complete tilt-shift assembly of the lens can be rotated by up to 90 degrees to the right, while the tilt section can be independently rotated by up to 90 degrees to the left.
Image quality is very good indeed, making the Samyang a smart buy at the price. We check out the best cameras for professionals. Please deactivate your ad blocker in order to see our subscription offer.
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