Again Keith, another very informative and useful video! I have owned the red-ring 15mm Laowa shift for over a year. I had not used a shift lens prior to purchasing this one and you are correct it does take some practice to use effectively. I normally shoot at F/8 or f/11 and on a tripod. Primarily for architectural type photos. I shoot with a Nikon Z6. I wasn't happy with the focus peaking method of focus so I am "zooming in" focussing and then zooming back out to get my focus. Based on one of your other videos, I purchased Topaz Sharpen AI. I found it extremely useful when sharpening these 15mm images. Like your tree limb example, it improved the images significantly. I also do a fair number of horizontal and vertical shift stitching images and that has been a lot of fun. Thanks so much for sharing your expertise.

Another great review Keith. Ive been struggling with the whole idea adapting a tilt shift to the gfx mount or purchasing a lens like this. This review was just what I need to see to help me in the decision process. Thank you so much Charlie

Excellent review Keith. I didn't know that AI sharpen can fix that corner issue. Great tip.

Outstanding - much more than a review! Thanks!! Have you found any third-party mounting support for this lens? The new Laowa version looks a bit cumbersome to carry 🤣

Thanks Kieth. A great review, as always! If you shot the gallery with the shift reversed and pointed the camera up you could probably get the building sides parallel - that would freak the architect out! 😉🤣

Hi Keith, I have this lens for my gfx and love it, but I am still reading through your book and experimenting with the different perspective. A couple of things you might find of interest, firstly you can actually use filters if you really want to, H&Y make a L-100 magnetic filter holder which mates with the bayonet type mount on the lens. Secondly Laowa make a "Shift lens support" for the lens which enables you to keep the camera sensor horizontal or vertical (or any other angle you prefer) whilst using any lens shift independent of the shift angle. It also has an Arca Swiss mount, Best regards Sarah

Fabulous! Great review!

Thanks again Keith, great review. 8 months down the road.... have you been able to test their new 20mm f/4 version? If so, what about image quality?

Keith, you understand the idea of a physical vs apparent horizon line and perspective well. You are from England. You are about middle age. You are technically capable. There is a good chance you know the earth is not a ball You even have some old Tartarian structure images. You must have heard of Martin Leidtke, or Paul Cook that are up in your area? 🙂 Shift lenses like this can give a nice new approach to product ...I wonder what the close focus distance is?

Very nice video, Keith. That rear baffle is a serious limitation, IMO, and seemingly unnecessary. I noticed this lens is also available in mounts for e.g. Nikon Z or other "35mm" "full frame" cameras. The question with the lens's numbers is how to interpret them. 110 degrees? Is that the horizontal angle? The angle with the "image circle"field of view? The net angle relative to the camera's frame size? That would be important to me as I do not need an effective 20mm that I already have. We, you and I, know from large format that stopping aperture down can increase the image circle significantly, and it seems that also works with this lens. Biggest gripe with a lens like this is that it does not generate lens EXIF data. It should be relatively easy to pass on lens brand and model, focal length, max aperture, and aperture setting where the latter is the only one that needs bridging across the rotating front and back end. Considering the existence of so many lens/camera mount adapters that relay electronic data, this should be easy.

You could say that secondary vignetting is baffling. Thanks for the video. You may have a look at an LCC filter along with Capture One Pro. Since tilt shift lenses (or just shift lenses) don't have a profile you could apply to all images due to the nature of the shifting you'd have to use the filter on a second shot for each image (or scene if you will) and apply the LCC correction independently to each image in Capture One. I know of another KZfaqr that has a video for this using a TS lens if you'd like me to point you in that direction. Caveat, I have yet to purchase the LCC filter myself as I'd have to figure out how to use it with a lens that bulbous and no real way of blocking light from intruding from the sides into the lens.

Always interesting looking at these lenses. I love wide angle photography myself although other than a vintage 35mm shift lens I don't own any other shift type lenses as they are pretty expensive. My favourite has to be my Irix 11mm f4 lens. I'd recommend you give this lens a try ( it's available for Canon EF ). It's a rectilinear design and pretty decent edge to edge. I use mine to shoot church interiors with great results. As you alluded to, it does need careful use as results will either be great or look lousy lol. That said, the Irix is the widest lens you can use on Nikon f mount without having to resort to fisheye lenses which honestly I'm not a fan of. I have looked into using this lens mounting my camera to one of those huge pole type tripods to offset the leaning distortion. Other than it being a hassle to carry around is this something you have tried in the past as an alternative to using a shift lens?

Have a good new year, I just dumped my A4 canon printer and I will get the P900. I'm waiting for Fujis TS/PC lenses before I start translating to Fuji GFX 100s.When is it better to use Panorama using a wide lens than using a Ultra Wide lens and a single photo?

Hi Keith. Thank you for the valuable content you provide. I've been doing some "math/geometry" in my head regarding the shift (only) lenses. Am I correct to say that provided I have a sensor with a high enough megapixel count where I can afford to crop 30% of the image and still get a big enough file... Using a shift only lens for perspective correction and using a wider lens levelled correctly (to avoid converging lines) and than cropping out the part I need will actually give me the same result, isn't it? (just less megapixels). Thank you!

if you used the 5 blader wide open then used a circular disc in the lens, would that reduce the sunstars while also manually stopping down the lens? laowa do make nice optics

How about the magic shift convertor from Laowa? It states that it can convert any lens into shift lens. Have you had an opportunity to try it?

Looking forward on your next lecture on Wide angle. I unsertion if I shall get a m 19mm PC that I cannmot use filter on or a fixed 15mm that I can use one filter on. I ususally use ND and NDgrad on the lenses.

Was the heavy vignette found on medium format or 35mm? I'd like the 14 blade aperture but do not want the vignette issue. I'm using 35mm.

Before I watch the video, I feel we should not bow to marketers calling these cameras "medium format". Let's go back to old school definitions. The simple definition for "small format" was, as long as it fits on 127 film, it's small format. That film compares to 120 film (but with a different spool pick up) but rather than 60mm wide, 127 is 40mm wide. Of that 40mm, between 34mm and 36mm is usable. For a 36mm * 24mm, this meant it would fit vertically on a horizontally rolling film. If we assume 36mm usable, then at a 3:2 ratio, you could still get a 54mm * 36mm shot on that - more than twice the area of 36mm * 24mm (but "only" 1.5 times linear magnification and that defines the ceteris paribus gain potential, not the area gain). This means that medium format will start at a format like "645" that really is 54mm * 45mm. And, "6*9" (56mm*84mm) would still be "medium format". I'd say, if 120 film format is too small to fill the camera's frame, then it's large format. Generally, in practice that means it starts with so-called 9*12 (cm) or the slightly larger inch format of 4"*5" (10.16cm * 12.70cm). In digital cameras of today, this means "we" only have two medium format cameras: the big Hasselblad and the Phase One. Even anything that uses a crop sensor in a 645 body is small format.

Keith is shifty!

Thank you for your thorough review. I'm sure you've used your Canon TS-E 3,5/24mm II and TS-E 4,0/17mm on the Fujifilm G100s, how do they behave there?