shifty
[photos]
posted by catherine / March 07, 2006 / 
i wrote about the weirdness/awesomeness of tilt-shift photography a little while back. now, the flickr blog points me towards a whole group dedicated to the effect, which makes real-life subjects look like tiny, creepy miniatures. it's super neat.
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My favorite: http://www.flickr.com/photos/mcsixth/106792657/
emily, that one is the best. turns out italy is an awesome tilt-shift subject.
i love this - check out this tilt shift of manarola (matt f, pay note!) with the one of me in front of the same view. no real reason for pointing that out...i just think it's cool.
I see, this was all some kind of trick to get me to visit a mere model. Very clever, miss catherine, very clever indeed.
heh. yes, be careful not to crush that vineyard-covered cliff with your foot when you're over there.
A photo-expert-y co-worker says that the tilt-shift lens explains the focus/out-of-focus thing, but he suspects that some other processing is helping it look even faker. He suggested, among other examples, that the photographers might be using slide film and processing it like normal film. (Of course, I'm talking about the real ones, not the fakes.)
Actually most of them are explained by photoshop rather than a tilt/shift lens or a large format view camera (the huge tripod-mounted old school cameras that require you to put your head under a hood - god I want one of those). W/ a tilt/shift lens, you can angle the lens independently of the film plane, which results in perspective weirdness and allows you to create a plane of focus that's very shallow and also at an angle. this is what makes things look miniature - our eyes aren't used to seeing large-scale scenes with a shallow focus plane. But that's not what this is. This is photoshop mimickry, and I don't approve (not that anybody asks for my approval).
cross-processing (processing positive, or slide, film in the chemicals made for negative film) will impact the colors but of course not the selective focus effect.
Very cool. I think he meant the weird, fake-looking colors could have been acheived by the cross processing you mention. If these were real and not photoshopped, that is. He was emphasizing thata tilt-shift lens was a necessary, but not in itself sufficient, component for acheiving these sorts of results.
Catherine, I should have suggested the Hiroshi Sugimoto show for the weekend you were here. His architecture shots play on the same depth of field tricksiness that go into the tilt/shift shots. It's really a very amazing show.
awesome, thanks for the explanations, guys. and kriston, i'll be back in mid-march - i'll try to check out the show then if it's still running.
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