42

If you shoot from the same position with both lenses, then taking the 35mm lens and cropping it to the same angle of view of the 50mm lens will give you pretty much the same picture, other than the differences in optical quality between the two lenses and the resolution lost to cropping. But even if you were to shoot with the same lens, shooting from a ...


36

Because you are shooting with the camera pointing down, you have convergent verticals. This can be fixed with the perspective tool in your image editor: In theory, you should fix the perspective before you rotate the image to fix the tilt, but when you do it in that order, your have no good reference to fix the perspective, so straightening the horizon ...


29

We're talking about perspective here. How far you are from your subject affects the way your subject's proportions look. Try shooting the same thing with the 18-135, say at 135 mm, but this time forget for a while about filling the frame properly and step back a meter or two (while keeping the same angle). Take the shot, then crop it in software so that it ...


25

There is no hardware solution, short of some crazy* arrangement of mirrors to extend the actual optical distance. That's because perspective distortion solely related to distance, but there might be a software one, if you're able to throw a computer at the problem and able to accept some limitations. For a computational approach, see this paper: Perspective-...


21

The proof is in the pudding – the focal lengths are not exactly the same as yours, but the differences are obvious...


18

The easiest way to think of this is with an image. When you use a wider lens, you have to be closer to your subject, which emphasizes the distance between the subject and background by making the background smaller. In contrast, if the camera is far away from the subject, you'll have to zoom much farther to get the same size of subject relative to the ...


15

Ever notice when you try to take a photo of a building from the ground, when you aim up to get the entire building into frame, the building appears to taper towards the top? That happens because the camera is tilted vertically upwards. When the camera is held level (in both the vertical and horizontal axes), all vertical and horizontal lines parallel to the ...


14

The key is to find areas of the image with a lot of parallax, such as a foreground building and a background tree. Try to pick a point as close to one edge of frame as possible. Now walk left/right (green) to find the correct point of intersection from the old photograph. Now that you've done that, you've established a straight line to move along (red). ...


14

Thanks to my schwifty skills in Inkscape, the rotation here is slightly off but the following shows exactly what you're comparing. These are the fields of view of a Nikon 35mm (inner) and a Nikon 50mm (outer). So even when you're getting approximately the same stuff in the frame, the 35mm is much wider, focal distances are slightly different too. If you're ...


14

Currently I am taking multiple photos, correcting their perspective, and stitching them together in a very crude way. Yep, that's exactly the way to do it. Good, modern panoramic software should make this less crude. If you use a longer focal length and take many, many pictures, your result will be better — maybe somewhat painful, but you know what they say ...


13

In my career as a VFX supervisor, I've helped supervise several miniature shoots. Shooting miniatures in substitution of a full size scene has been a common technique for almost as long as films have been produced. There are several important steps to make the photograph convincing: Use a small aperture Consider a 1:10 scale model, and put your camera in ...


13

If you want something to look impressive, don't make it a little thing in the middle of a big picture. Frame to make it dominate the picture: This is your picture with much of the distracting fluff cropped out. It let's El Capitan stand out and appear much bigger than in your original. Also keep things out of the picture that compete for dominance. That ...


12

Classic standards have always been more like 2 meters Minimum distance for portraits. 3 meters is common in professional studios, for even better perspective. Too little distance (like 1 meter) will exaggerate and enlarge closer features like noses. This distortion will not please the subjects. The standard notions are the 105 mm lens is good for head and ...


10

What I see there is that the software managed to do affine transformation (change the pitch of the camera), but forgot about lens distortion. Ofcourse, to do a full blown perpective recomputation you need a 3D model of the scene, as affine transformation only models the scene as a plane. So you get to choose, if you want the front wall straight or the back ...


10

Perspective is determined by one thing and one thing only: Subject distance. Period. If you took an image using a rectilinear wide angle lens such as 17mm, which yields a diagonal angle of view of 104° on a full frame/35mm camera and cropped the resulting image so that only the center 3.08333° is in view, you would have the exact same perspective as if you ...


9

Here's the short answer: a wide angle lens on a crop sensor skews the image exactly in the way it does in the center of the frame on a full-frame sensor. In turn, this means that using a wide angle lens (small focal length) on a crop sensor gives the same perspective distortion as using a narrower lens (larger focal length) on a full frame sensor, with the ...


9

Its not quite restricted to large format, but is most common there. Whats going on is that on a large format camera, the front "standard" which holds the lens can move independently of the rear standard, where the film is. What a photographer does to avoid converging verticals is not to tilt the camera upwards, but to shift the front standard so that ...


9

You say: When I select the Perspective tool and click anywhere in the canvas, the grid appears, already scaled to just the subject Emphasis added, because that's important. This is not the normal behavior of the perspective tool. Normally, if you just click, the grid will cover the entire image. It sounds like you have your subject pre-selected. You don'...


9

Perspective is the size relationship of objects. You might say the ratio of size of foreground objects to background objects. Perspective plays a big part when it comes to judging distances to objects. It is a major contributor to our 3D vision. When we change our distance, the size relationships of objects at various distances change. When we change focal ...


8

It is not about the size of the format, but how the lens moves with respect to the film or sensor plane. This particular case B maintains the 3 planes parallel: Lens, film plane, building. Again, this has nothing to do with the film size. You can google these kinds of lenses for a SLR camera: https://www.google.com.mx/search?q=slr+shift+lens Or some ...


8

Many tripods allow you to invert the center column, putting the camera below where the legs meet. You can mount the camera at the proper height this way, then move the tripod around until you get the view you want.


8

In the case of the second shot (20mm focal length), the camera was positioned closer to the lamp, thus making it appear bigger than the background. As the camera moves further away from the subject, the distance between the subject and the background becomes smaller relative to the distance between the camera and the background, making the subject appear ...


7

You can use mosaic mode in Hugin for these types of panos. You have to be in Expert mode (Interface → Expert), but then in the preview window (GL button), under the Move/Drag tab, Drag Mode can be selected as a Mosaic mode. If this is set, dragging horizontally and vertically changes the translation parameters X and Y, respectively i.e., lets you move the ...


7

You can do perspective correction in post. This emulates the effect of tilt-shift lenses. Not all photo manipulation programs have this capability. I often even prefer perspective correction over changing the camera's position, because it allows me to make straight lines parallel while still keeping the angle of the photo that I want. For instance, you ...


7

To do this optically (in camera) you will need to shoot the tyre from a long way away using a telephoto or supertelephoto lens. Being a long way away means the front of the tyre and back of the tyre are very similar distances and will therefore appear a similar size (imagine if you are one tyre-diameter away, the front of the tyre will be twice as close as ...


7

In the tool options for the perspective tool, under "Guides", you can select "No guides". There are other options, as well, for a sparser grid, etc.


7

If you take a photo of a FF camera and 75mm DX lens and compare that image with another shot of same subject made by a cropped camera and a 50mm lens what you will see ? But to be able to see the "same subject size" in the pictures, the longer lens must stand back further. So that is a difference in what the lens will see there, at that new location. So ...


7

You can do perspective correction in PS, an easy way is for example via Camera Raw, or the Distort/Lens Correction filter. Another method to retain straight verticals while shooting is to shoot with a wide FoV and keep your lens pointed horizontally. Your object will be in the lower part of the image,but you can crop that later (that's why you need the wide ...


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