If ever there was a building to confound anti-moire filters! May I ask which camera you employed for this last shot? And do you think the format had an impact on you being a bit out of square?
Then again, maybe I don't want to know the answer to that.
u are lucky this time, cause i used the arTek with e72 back and- if i remember well -the 28HR lens.
the format resulted too from the fact that left hand still the construction site was very visible,
but i adapted also in it the overall form of the building.
My question is... [sorry wrong forum I know, but..] How much of a game changer is the 17 tse in the Nikon / Canon choice ?
Until a few months ago 24mm tse was the widest available for either, and by most accounts the MkI canon t/s weren't thegreatest.
So for Architectural Photographers [AP's] that were using 35mm for most of their work before, were you happily getting by with the 24mm t/s and the 14mm normal lenses?
For AP's that mostly shoot MF, do you regularily get the 23mm out, and use it's shift capabilities? were you even considering 35mm as an option proir to the availabilty of the 17mm tse?
no, i did not consider it the last years.
although i worked with the early 35mm digital cameras, starting with the kodak 14n and slrn ( which were by far best cameras in the market in iso6 mode ) it was very complicate stitching images, using the zoerk adapter and e.g. the pentax 35af lens. it was only possible to use this set together with 4x5".
the older canon 24tse, nikon28 pc and leica/schneider 28pc have been too bad for me to use them,
i bought all wides which i could get and sold most after 3 days in ebay.
i got later an adapted olympus 24pc, this lens was a bit better.
first real good corrected ultrawide was the ( believe it or not ) sigma 12-24.
but hard to find a sharp sample and not enough resolution headroom to correct perspectives.
the kodak 35mm cams showed the typical color casts with shift lenses, as all aa-free sensors and most the kodak sensors.
in this days i created an action to invert white files in ps and to subtract the color info from the image, ( similar later stefan hess and me adapted this in brumbaer tools but automated ).
after the appearance of the schneider 24xl and a bit later the rodenstock 28HR mf was the way to go for serious and reliable digital architecture work, except that there were centerfolds, horrible and slow softwares for color cast corrections and complicate thought cameras for ground-glass composing as the alpas/cambos and so on.
i asked mr gottschalt to modify one of his cameras for my needs, adding a sliding back which was able to work with the new wide angle lenses.
thanks to my friend stefan hess the completely nasty and incurable centerfold was cured, at least with the sinar 33mp sensors, and we created together the brumbaer workflow, which was the first more or less well thought batch workflow for architecture location shootings. this hard and software experiences resulted later in the artek and in the architecture plugin from exposure.
so after that works for me it was not thinkable to do to serious architecture work with 35mm, mainly for the absence of usable lenses.
i did not expect at all some new stuff in the class of these new tse lenses. the 35mm companies have had so many years time and never have felt enough market to make even better than mediocre shift lenses. all of them.
also i am afraid that canon will not bring out the tse lenses which still would be needed for a really usable architecture system. something like a 35tse, a new 45tse, a 60 tse and a new 90tse. if they will do that they will catch up the market, but its questionable if its big enough ( and if they think good enough ).
i heard the nikon 24pc is very good as well, but for me not wide enough for many situations.