On the Rokinon this equals a slightly larger black knob for tilting (8.5 degrees left and right), a smaller black knob for shifting (+/- 12 degrees), and then a corresponding grey knob for each on the opposite side that is a locking mechanism. Unlike other lenses, a tilt-shift lens also has the mechanism for tilting the lens and shifting the lens. Note that the lens extends ever so slightly during focus, but the movement is only about a quarter of an inch and is scarcely noticeable. The placement of the red ring (usually next to the focus ring about midway up the body) is the only real difference in the casual inspection of design ethos. The overall design appearance, like other recent Samyang/Rokinon lenses, is pretty much a rip-off of the Canon “L Series” design, right down to the red ring (although I actually find the Rokinon’s red aluminum ring a little classier then the plastic equivalent on L lenses). It moves every so smoothly, and is, I think the nicest execution of a focus ring of any Samyang/Rokinon product I have used. It has a slightly soft texture feel with fine ribbing, and it is perfectly damped. I am accustomed to the aperture rings on a lot of vintage lenses where they are all metal. The aperture ring has a slightly more “plasticky” feel that what I would prefer, but this is more of a “feel” issue than a functionality issue.
#Nikon 24mm tiltshift full#
Full stops are shown on the dial, but half stop positions can be selected as well. The aperture ring (aperture is also manually controlled) clicks nicely from f/3.5 to f/22. Unlike the Canon, the Rokinon is a bit blocky in the area around the tilt/shift mechanisms. The Canon tapers out along the focus ring to a considerably wider width, while the Rokinon has a fairly uniform circumference. 27.5oz/780g) and smaller in circumference than the Canon 24mm T/S. It is primarily engineered plastics around some metal internal bits and a metal bayonet mount. The Rokinon has only marginally less functionality than the Canon equivalent (it doesn’t rotate a full 360 degrees), and is a mechanically sound instrument. A tilt-shift lens can do this optically, and as a result retain the full 24mm angle of view can be retained, which is particularly important. A typical 24mm image from a standard zoom might become something more like a 35-40mm angle of view after the image is cropped to accommodate the geometric corrections.
#Nikon 24mm tiltshift software#
Software has come a long way in being able to correct distortion and geometry in post (particularly when Adobe introduced its “Upright” tools), but at a significant cost in the crop of the image. They are invaluable to people doing architectural photography because of their unique combination of low native distortion along with the tilt-shift mechanism that allows the photographer to straighten lines perfectly.
To this point I have been consistently impressed with Rokinon lenses, but unfortunately this lens proved the first disappointment to me.
The lens was released to relatively little fanfare about a year ago, but it slipped through the cracks for my reviews until just recently. The prices on their lenses have always been extremely reasonable, and the optics have frequently equaled and even bettered far more expensive options. This struck me as an arena that Samyang/Rokinon could really compete in. For many people a tilt-shift lens is too niche to make that kind of investment in. The Canon TS-E 24mm f/3.5L II Tilt-Shift Lens has a great reputation for having stunning optics, but it isn’t a financial lightweight at a $2000 price tag.
#Nikon 24mm tiltshift manual#
Tilt-shift lenses are, by nature, manual focus only, and Samyang/Rokinon have made their reputation by making manual focus only lenses with good build quality and great optics. I was excited when the Samyang/Rokinon Tilt-Shift 24mm f/3.5 ED AS UMC Lens was announced as it seemed like a perfect fit for the manufacturer.
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