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Author Topic: Nikon 24/3.5 PCE lens modification recommendation  (Read 2614 times)
Mike Stewart
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« on: September 22, 2012, 05:23:58 PM »
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I recently purchased a Nikon 24/3.5 PCE lens to use primarily for photographing architecture and interiors and need help in determining if I need to have the lens modified before I begin to use it.  I've read that the lens can be modified so that the shift and tilt movements are parallel to each other instead of opposed to each other as is the case when the lens is originally delivered.  Can someone familiar with this lens provide the pros/cons of having this modification done or letting me know if I'd be better of to use it in its original configuration?

 
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lfeagan
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« Reply #1 on: September 23, 2012, 01:26:01 AM »
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For architecture, you likely want the movements to be on the same axis (rotated 90 degrees from what you have now). Imagine you are in front of tall building. You will use the shift to adjust the parallax and the tilt to alter the relationship between the film plane and the building.
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Lance

Nikon: D700, D800E, PC-E 24mm f/3.5D ED, PC-E 45mm f/2.8D ED, PC-E 85mm f/2.8D, 50mm f/1.4G, 14-24 f/2.8G ED, 24-70 f/2.8G ED, 70-200 f/2.8G ED VR II, 400mm f/2.8G ED VR
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AlanG
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« Reply #2 on: October 02, 2012, 07:33:25 PM »
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I am an architectural shooter and have used the Canon 24 TSEs for about 9 years... the first model and then the second one as soon as it came out. I don't think I have ever used the tilt feature when shooting architecture, only the shift. So on the early model lens, I didn't care what the relationship was between the two movements. The new 24 has a double rotation system so that is not even a factor. But I don't think you'll find that as much of a limitation with the Nikon lens.
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Alan Goldstein
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kers
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« Reply #3 on: October 03, 2012, 09:40:50 AM »
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I am an architectural shooter and have used the Canon 24 TSEs for about 9 years... the first model and then the second one as soon as it came out. I don't think I have ever used the tilt feature when shooting architecture, only the shift. So on the early model lens, I didn't care what the relationship was between the two movements. The new 24 has a double rotation system so that is not even a factor. But I don't think you'll find that as much of a limitation with the Nikon lens.

You are right. Only in very special circumstances ( close to the ground and want to have the whole ground to infinity very sharp ) it has a benefit.
Usually i am more concerned that is has tilt when i don't want it... I hope nikon brings out a 17mm S  instead of a 17TS
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Pieter Kers
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« Reply #4 on: October 03, 2012, 10:33:19 AM »
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I am an architectural shooter and have used the Canon 24 TSEs for about 9 years... the first model and then the second one as soon as it came out. I don't think I have ever used the tilt feature when shooting architecture, only the shift. So on the early model lens, I didn't care what the relationship was between the two movements. The new 24 has a double rotation system so that is not even a factor. But I don't think you'll find that as much of a limitation with the Nikon lens.


Ditto. I've been shooting architecture professionally since 1978 and I could count on one had (maybe two) how many times I have used tilt for architecture and interiors.
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AlanG
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« Reply #5 on: October 03, 2012, 08:17:35 PM »
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Usually i am more concerned that is has tilt when i don't want it... I hope nikon brings out a 17mm S  instead of a 17TS

Yes very true. The new 17 and 24 Canon lenses have a lock to prevent accidental tilt. Unfortunately I occasionally find that on the 45 TSE that it can get bumped easily and tilted despite the screw that tightens it. I have to remember to check it every time I use it.

Also the 17 and 24 have so much depth of field that the tilt is not that significant except in a really extreme situation that wouldn't commonly apply when shooting architecture or interiors.
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Alan Goldstein
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JeffKohn
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« Reply #6 on: October 03, 2012, 09:42:56 PM »
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As a landscape shooter I use both tilt and shift pretty regularly. If your foreground is at all close, 24mm can still benefit from tilt to increase apparent DOF. Usually just 0.5-1 degree tilt is enough to make the the difference between infinity being really sharp as opposed to just "close enough".

I can see how tilt would be less needed for architecture; but if you ever decide you want to use it, it's likely you'll want it on the the same axis as shift. You'll probably be using rise/fall for perspective and tilt for near/far DOF. I suppose it's possible you'd want swing to match DOF to a horizontally receding surface, but I can't say I've ever needed that. So to me it makes more sense to have them together rather than opposing.

The modification is pretty easy to do yourself, there are instructions floating around on the internet including pictures. It basically comes down to removing 4 screws and rotating the back part of the lens mount. So I guess if you use the lens for a while in its default configuration you can always decide to change it later.
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Steve_Townsend
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« Reply #7 on: October 06, 2012, 12:22:05 AM »
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Usually i am more concerned that is has tilt when i don't want it...

I wholeheartedly agree with this.  I use this lens almost everyday and it is a constant worry precisely where the tilt is. Maybe my lens is a bit sloppy through use. Got me thinking though, sounds extreme, but I'll superglue the tilt!

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kers
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« Reply #8 on: October 06, 2012, 03:49:57 AM »
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...Maybe my lens is a bit sloppy through use. ...

i am just back from Nikon service for repairing the shift block device of the 24PCE ...   122+vat
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Pieter Kers
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