>>3469654> How is rise or swing different to tilting the camera up in terms of what you can achieve? Okay, imagine you're looking up at a building. You know how the top of the building seems to converge into a rhombus shape instead of a nice flat rectangle? That's called keystoning. You get it when you tilt your plane of focus up relative to the subject.
You can prevent this by moving yourself halfway up the building. By using a big crane, say; or by building a time machine to go to the future and buy any of the many commercially available jetpacks we will have then.
Orrrrr, shift your lens up. A small shift in the lens is the same as a big shift in your position. So if you shift the lens up, you can get the top of many tall structures while keeping the focal plane parallel to it, which means you won't have any keystoning.
But sometimes that's not enough. That's where tilting comes in. You can point the camera up a bit more to where you *would* get keystoning, but then tilt the lens so that you don't. Of course, this fucks up your focus because you now have your focal plane intersecting with the lens' image instead of parallel to it, so you usually have to stop down a bunch for that.
You can also do wacky things like deliberately tilting with a wide aperture so that you can get something far away in very shallow DoF, which we're conditioned to interpret as something being a miniature. Or you can tilt the "wrong" way to make the buildings look reverse-keystoned, which can be fun.
But the thing displayed in the pics from this thread is that he's got tall structures shot from ground level which don't exhibit any keystoning. It's not something you'd generally consciously notice unless you're a photography nerd like me, but it's something that makes large format photos (or small format photos taken with a tilt/shift lens) look unique vs. the everyday photos you usually see.
