I used the 75mm shift lens for a big project about four years ago and thought it served well, though movement-wise it's no substitute for a view camera (but then, nothing is, and an SLR can can do a lot that a view camera can't!). I suspect the 20mm figure is pretty close, and that's in any direction (not just 10+10); the lens rotates to 8 or 12 different positions so that you can, for example, shift up and to the left (as opposed to just straight up/down or to the left/right). Maybe slight darkening of corners with increased shift, but them's the laws of optics and it's not what I'd call vignetting unless you've got filters on.
Quite convenient, though you have to stop down manually after focusing and before shooting (the aperture ring is on the filter-end of the lens). This takes a week or two to imprint on one's brain. Architectural use? The problem is the focal length; at roughly a 37mm equivalent (in 35mm terms, I mean) the 75mm shift lens isn't wide enough for many architectural applications. Note that the Mamiya 6x7 shift lens is also 75mm, but costs a lot more and uses a much larger filter size than the Pentax (but I've never used the Mamiya). Overall quality, reliability, and optical quality of this lens were quite good, as I recall. While Canon's three T/S lenses are the best such lineup in photography, they've always struck me as a little more fragile than the medium-format shift lens offerings from Pentax (6x7) and Mamiya (645 and 6x7), all of which feel a bit sturdier.
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There's no other practical option that works with the P67 body; you can, of course, buy various view-camera-type adaptors but these tend to be both more costly and more unwieldy than a view camera itself. MF shines when you like everything about a particular brand, but when you want something that that brand doesn't offer you're kind of stuck.
Assuming that one wants to hang on to one's Pentax or Mamiya system, I think the best solutions for perspective control involve finding other MF options that have perspective control. The Hassy ArcBody, the Horseman SW612, and the CamboWide with roll-film back all offer far more flexibility than any mere shift-lens-on-an-SLR can. Granted, the lenses and bodies aren't compatible with your Pentax or Mamiya, but at least you only have to carry one format of film (120)-and you may be able to leave your wider P and M lenses at home. Buy an old Bronica S2 Tilt Shift Bellows for $200 to $250 and on the camera end replace the mount with the P67 Mount and on the lens side replace the mount with a Mamiya RB Mount. Replace the bellows with a homemade bag bellows.
The Mamiya RB mount has about a 3/4' longer film to lens distance so will allow infinity focusing with movements in most situations. I'm thinking the Mamiya 50mm lens would be a good starter! I haven't done this yet, but will try in the next few months. I'll keep ya updated. Rolland Elliot is known for doing some amazing and unusual things with lenses, so I hesitate to comment on his post.
However I contemplated doing something similar with the Mamiya RZ 50mm lens. Never mind the problems with an electronic shutter, I found that the image circle when focussed at infinity was roughly 98mm in diameter.
Pentax 6x7 Shift lens 75mm. 6 Simple Photography Hacks To Get You Off The AUTO Mode Forever - Duration: 19:21. Photography Pro 2,129,211 views. Titans of 6x7: Mamiya RZ67.
Since my 6x7 negatives were actually 57mm x 69mm, I calculated that the shift in both vertical and lateral direction would be only + and - 6mm, before vignetting and hardly worth the effort. I am still looking for a viable MF sift/tilt solution. It is worth noting that the Mamiya handbook claims a shift of 20mm (I assume +/- 10mm) and several old postings show that this is quite inadequate for achitectural purposes. Hi MF List Members, I just got to this list recently. This is my first response. I am using the Pentax Shift for many years (over 10 in fact). If anybody ask me - This is my preferred lens for everything, except people.
It is a bit too slow for moving subjects. Landscape-I would not want to miss it. I shoot beach scenes - nothing better than with the shift! So I can control the foreground, as I need it.
I agree, for very high buildings it is not that great because of the focal length. But you just move more back.
If you can't, switch lenses; the 45 and go in extremes. I do dupe most of my slides and I find this lens sharp enough even to blow it up a bit.
Often I have to limit my lenses when I go on a long trip. If I choose to take my Pentax, then I choose the shift and the 165 LS or the 200. The LS is very sharp.
It is a great lens and very useful, if you use fill in flash. I also had the Mamiya 75 shift. I took it with me on a few trips, but then sold it, it is just too heavy and very slow, because the lens shutter has to be cocked separately. The lens is great, but only when you go to an assignment preferable in you car and then back. Not a lens, which you drag around the world like I did.
Also the Filtersize of 105 mm bothers me a bit, because I can not find any filter for it. So I had to cut gelatin filters and stick it in. The Pentax takes 82 mm. It shifts 20mm in all directions. It has 12 clicks. There is no vignetting of the lens, even if you but filters on.
You see it getting dark when you shift because of the mirror. It has NO influence on the film at all- but on the lightmeter. Therefore you have to meter first and then shift. The use of the manual aperture you get used to very fast. This is on the 67 manual camera.
I do not know, how it performs on the 67 II. Because I want to trim down in weight, I bought a Mamiya 7. This camera is absolutely great, but I miss one thing: a shift lens.
I use it virtually only with the 43mm and the 65 mm. I had to change my style of shooting with those lenses. But the 43 is out standing in performance such as sharpness. A word of caution: any way of putting a makeshift solution to your camera, will lower the quality of your photos.
There was a Japanese Company making a shift adapter for the Mamiya, using large format lenses. But the minimum possible focal length was 90 mm. So, I am better of with the 75 Pentax shift. And after all, I have done great cityscape shots with that lens. Buildings, Skylines etc. In order to photograph a building, you often you have 2 choices: either you can go further back, or you can go up somewhere or somehow.
Just have to search for it. Schneider makes - or used to make a 55 mm shift for the Rollei 6x6.
I asked them, if they could adapt one to my Pentax. They replied, it would not be sharp enough on the edges. Because the lens is calculated for 6x6 Format only.
But if you need a wider lens with shift; the Plaubel used to make one, Alpha makes one (very expensive) and as far as I know Horseman as well. The Horseman uses a Rodenstock (I think 35 mm) which would be about 15mm WA in 35mm Format but how many mm you can shift with it, I would not know. Thanks for this lively little discussion; I found it quite helpful.
Just got my 75mm Pentax shift lens today. Used, but you wouldn't think so. Mint condition.
Shueido Camera (eBay) sold me this item for 900 USD (a bargain!). Got it here from Taiwan in less than a week. (standing ovation!) Few people want large format these days-I use it for my own enjoyment. For commercial shoots, shifts are invaluable-by far the most common difficulty in image management. Tilts are nice too, but this kind of work really calls for a view camera. If other visitors are curious, this is a phenomenal lens!
The construction is outstanding. It's very easy to use if you read the manual, available as a free download at the Pentax web site. It's a 9-element design with outstanding optical quality-have yet to put images on film, but being an engineer and physicist with a background in optics, I can see how Pentax went to considerable toil in design and manufacture. This lens is a real beauty! To echo a thought expressed above-where you don't have space to back up, haul out the 55mm or 45mm focal lengths. The 67II is designed to be used as a system, so one lens does not do everything.
With a big 67 negative, there is generous room for cropping with the fixed focal lengths. The 75mm shift delivers a moderate angle, for images with a natural perspective-where wide angle effects don't take over the image. It's exactly what I want! Should I recommend all the 67 series wide angle lenses? Wide angle lenses seem to be a weakness of my Canon 35mm equipment. Even the costly lenses have issues of distortion and aberrations, and construction of auto-focus lenses seems a little sucky to me.
Greatly prefer using the Pentax for 90 percent of my wide angle subjects, or any subject that might be printed 8x10. Canon's 24mm TS-E is an exception to the rule.
This is a real good lens, with a few minor drawbacks. Small distortion at the edges is easy to get rid of if you crop the image-most clients wouldn't detect a problem. 28mm f/1.8 is also a superbly sharp lens, even at 1.8 The TS-E also incorporates tilts and rotation. It's the premiere wide angle lens for Canon users who are not fond of auto-focus. A little heavy-but that's a good thing (sturdy construction!).
We regularly use the Canon, and tilt shift lenses. How about an adapter for using Mamiya Sekor 645 medium format lenses on a Canon 1Ds Mk3? Using old Medium format lenses We’ve a collection of Mamiya 645 medium format lenses sitting round. Actually we’ve a camera and accessories too, but I don’t really see me using film again.
The lenses are not at all bad with a basic M645 to Canon EF adapter, but given the range of Canon lenses I’ve got I just don’t see much use for say, the 55mm f/2.8 Sekor-C One useful point to note, is that MF lenses have a much bigger image circle than 35mm lenses, so potentially could be used as shift lenses. Ebay quickly provided me with a shift adapter from the Ukraine – search for Arax. Note – If you’re new to shift lenses and why I use them for much of my interior and architectural work, then I’ve written several articles, starting with an. The picture below shows the adapter mounted on the front of my Canon 1Ds3. It’s set for shifting vertically. You can see the shift adjustment knob at the bottom and the shift scale (in mm) at the side. The adapter is solidly made, but lacks a bit of camera engineering ‘finesse’ – then again it’s rather cheap compared to many other adapters you’ll find.
Note that reflection you can see inside the aperture – I’ll come back to that The front of the adapter rotates allowing left or right shift too. It’s shift away from a centre point, so to get left/right shift, you need to rotate the lens.
The lenses are set to manual for aperture control, and are manually focused. Mamiya 645 Sekor lenses A set of lenses that go with the Mamiya 645 pro medium format camera body we’ve got sitting in a dust covered case. The lenses tested here are:. Sekor C 35mm f/3.5.
Sekor C 55mm f/2.8. Sekor C 80mm f/2.8. Sekor C 210mm f/4 I thought that since there was a 210mm, I might as well try it out I’ve tried these lenses directly with an adapter and they seem of quite good quality, but that’s only the centre of the field of view they were designed for. 35mm Sample images I’m just testing the general quality of the lenses, not creating any great artistic works;-) I’ve used liveview to focus on the brickwork next to the red door over the road. This article tries to give a bit of a feel for using the old lens rather than any detailed optical analysis – and when it comes down to it (IMHO) photography is about actually taking photos I’d suggest doing some quick tests like this for any new lens you try out, just to get a feel for what differences it might offer. First up, the 35mm – here it is at full vertical shift (11mm) As you can see from the edge of the lens, this one has had some use The stitched image below shows the coverage with 11mm shift, left, right and upwards – all shot’s taken at f/8 Just for comparison, this is a left/right stitched image taken with the new Canon TS-E24 Here’s the centre of the image with the 35mm (all crops at 100%) and this with the TS-E24 The top (fully shifted) corner shows a bit of softness and slight chromatic aberration, but not enough to worry about.
At f/11 the results were a bit sharper. Since I’d be using lenses like this with the camera on a tripod, I’ve not bothered any testing with them fully open. Vertically shifting doesn’t show any real problems either 55mm The 55mm would still be considered a moderately wide lens on a 645 camera. Although a solid lens, it has more plastic in its construction than the 35mm. Here shifted upwards As before, I’ve stitched some images to give an idea of the coverage.
The stepping along the bottom shows where I’ve not got the shift axis precisely horizontal Some 100% crops suggest that this is a good lens at f/8. Centre Top RH side (shifted 11mm right) 80mm A near ‘standard lens’ on the 645. Once again, of similar build to the 55mm and also of good optical quality Shifted up Vertical 11mm shift.
Notice the manually stopped down aperture diaphragm (6 blade). Shifted left. However not shifted down, since the adjustment knob catches the extension at the top of the 1Ds3. This is as far as it goes – for any more you’d need to remove the knob and cut it down in size.
Here’s a set of the stitched images (11mm shift) and 100% crops for the 80mm. Centre Top LH corner when shifted fully (11mm) left As you can see, virtually no image sharpness problems at all, even at full shift. 210mm OK, I can’t actually think of a use for a 210mm shift lens (on 35mm), but it had to be tried A centre crop Two front doors Two 210mm images flat stitched together. If anyone can think of a good use for shifting the 210mm, then please do let me know:-) Conclusions All the lenses work fine at f/8, with the 35mm benefiting the most from f/11. The 35mm and 55mm now form a useful addition to my lens collection for architectural work. Although the 80mm is very sharp, I already have the which is a very nice lens, and has tilt too.
Nope, I still can’t think of a use for it where I couldn’t just move the camera and stitch the images. But at least I can say I’ve got shift lens coverage from 17mm to 210mm.
There are clearance issues with the adjustment knob, but like the internal reflections I’ll show in a bit, this could be fixed with a bit of careful effort in the workshop. One design feature I just couldn’t explain was the off-centre oval nature of the hole in the sliding part of the adapter. If the long axis of the hole was aligned with the shift axis, I could understand it, but at 90 degrees? A close look at the shift scale shows that although there is 11mm of shift available, there is a green mark at 7mm.
I believe (there are no instructions with the adapter) that this represents the limit of shift before you -may- get problems with obstruction of the path between lens and sensor. Internal Reflections The image below was taken with the 35mm at 8mm of left shift and 11mm. Roll your mouse over the image to see what happens at 11mm.
This looks like a reflection from somewhere, and the prime candidate is the shiny black inside of the adapter, the part that goes into the camera. I’m currently checking some different kinds of matte black paint to see which works best here, but I believe it should improve the contrast of images, even at zero shift. As you can see, other thin metal (brass) parts have been coated, but the EF mount and adjustment screw still have shiny finishes. A quick warning The spring detent providing click stops for rotating the lens is quite firm.
When you rotate the lens I’ve noticed that some small particles of paint can collect in this area, thus I’d recommend that you use a blower to clear dust etc. Out of the mechanism before/after using the adapter.
Phase One
Summary A real use for some of my old lenses. Whilst I don’t anticipate that that much use for the 35mm/55mm/80mm lenses (else I’d have bought a TS-E 45mm before now) it’s just useful to know you have different options sitting in the (extended) camera bag on a job. The adapter can best be described as solid – it works. If you have even better quality 645 lenses then you might want to look at the adapters, which offer up to 20mm of shift, but for at least 6 times the cost ($600+). More experimental and How-to articles All articles and reviews are listed on our main, or use the search box at the top of any page. Experimental items, hacks and how-to articles are all listed in the category Some specific articles that may be of interest:. A Canon 1Ds pinhole camera, making a 50mm 'standard' pinhole and a 200mm zoom version - results are compared to a lens some £1400 more expensive.
Tilt Shift Lens
An adapter ($20) to use an old MPP 5x4 view camera with a Canon 1Ds. Article shows details of construction and just what it can be used for. Could be adapted for any DSLR and many old large format cameras. More of Keith's articles/reviews (Google's picks to match this page) Buying anything from Amazon (not just what's listed) via any of the links below helps Keith and Karen keep the site going - thanks if you do!