FYI, you do not need software to do perspective correction. It can be done
in the darkroom by tilting the easel. To do this you have to either use a
very small f/stop or have a method of tilting the lens. I did this once when
I was in junior high some 44 years ago. The grain gets a little bigger at
the down tilted end.
Regards,
Bob...
------------------------------------------------
"A picture is worth a thousand words,
but it uses up three thousand times the memory."
From: "Mark Roberts" <[EMAIL PROTECTED]>
"Bob Blakely" <[EMAIL PROTECTED]> wrote:
That was the original intent. In fact, I presented this as my plan and
argued for it, but some folks here objected. There will be three photos:
1 Shift lens shifted.
2 Shift lens unshifted and realigned.
3 SMCA 28/2.8
I agree with you about the SMCA 28/2.8.
I certainly don't object to this plan; I'm actually kind of interested
in the results and look forward to seeing the test shots.
I'm still hoping to borrow an example of this lens to do some tests to
answer a couple of questions that you can't address with the lenses you
have available to you.
The first question is, "If I have $1000 to spend on a ~28mm lens for
architectural photography, will I get better results from a shift lens
or a comparably priced non-shift prime?" As someone who doesn't
currently own either, this is the question that really matters to me.
The second question, the one that I don't *need* to know about but would
like to explore anyway :) is, "Are the design compromises inherent in a
shift lens (larger image circle) more detrimental to the final print
than the printing compromises (perspective correction in Photoshop)
involved in using a high-end prime?"
The first question is of great practical importance (I expect a second
hand shift lens would still sell for more than a new 31mm Limited). The
second is purely intellectual curiosity.
