Tilt-shift Photography
I have developed an interest in tilt-shift photography. The intense miniature manipulation has inspired me to consider it for my final project. Tilt–shift photography is the use of camera movements on small- and medium-format cameras, and sometimes specifically refers to the use of tilt for selective focus, often for simulating a miniature scene. Sometimes the term is used when the large depth of field is simulated with digital post-processing; the name may derive from a perspective (or tilt–shift lens) normally required when the effect is produced optically. In applications such as landscape photography, getting everything sharp is often the objective; by using tilt, both the foreground and background can often be made sharp without the use of a large f-number. When the PoF coincides with an essentially flat subject, the entire subject is in focus; for a subject that is not flat, obtaining foreground and background sharpness relies on the depth of field, though the sharpness can often be obtained with a smaller f-number than would be needed without the use of tilt. Basically, this shifts the whole plane of focus keeping one of the three axes as it is. The selective focus creates a miniature faking which I may relate to my other ideas such as David Levinthal's miniature toy photography. Here is my experimental photography of using tilt-shift photography, this was edited on Adobe Photoshop by using the quick mask mode whilst selecting the area which I wanted to blur with the gradient.
I have developed an interest in tilt-shift photography. The intense miniature manipulation has inspired me to consider it for my final project. Tilt–shift photography is the use of camera movements on small- and medium-format cameras, and sometimes specifically refers to the use of tilt for selective focus, often for simulating a miniature scene. Sometimes the term is used when the large depth of field is simulated with digital post-processing; the name may derive from a perspective (or tilt–shift lens) normally required when the effect is produced optically. In applications such as landscape photography, getting everything sharp is often the objective; by using tilt, both the foreground and background can often be made sharp without the use of a large f-number. When the PoF coincides with an essentially flat subject, the entire subject is in focus; for a subject that is not flat, obtaining foreground and background sharpness relies on the depth of field, though the sharpness can often be obtained with a smaller f-number than would be needed without the use of tilt. Basically, this shifts the whole plane of focus keeping one of the three axes as it is. The selective focus creates a miniature faking which I may relate to my other ideas such as David Levinthal's miniature toy photography. Here is my experimental photography of using tilt-shift photography, this was edited on Adobe Photoshop by using the quick mask mode whilst selecting the area which I wanted to blur with the gradient.
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