And as beliefs keep on coming and going, simple geometry proved to be much more long lasting. For any kind of church, cathedral, mosque, temple, house, skyscraper, monument, whatever, it is the same crystal clear geometry that is needed. So perhaps its content is more meaningful than any projection of "holy ghosts" on the products of geometry. That was the idea here and I tried to emphasize the very geometric work on the facade of the church, but I guess that I needed a tilt-shift here. I'd be glad for any comments.
A tilt/shift lens is not matter of digital vs. analog, Gustavo. It is matter of optics and that holds true for any kind of photography. You may take a look at any web page about tilt/shift lenses for more information.
Really, you never wondered how pixels *have* to be generated on the stretched areas when you distort perspectives in PS? If you have two adjacent pixels and you stretch the space between them in PS, then... what has to appear between them? Is that so easy to do perfectly and without any pixels that simply do not belong between the former two, but were only guessed by the software?
We should care a bit more about the used algorhythms and with a bit of more careful observation we would indeed see what is the price to pay for such perspective corrections in PS.
Then we would also understand why a T/S lens is the dream of any photographer when it comes to perspective. But they are so expensive!
Yo no conozco mucho de la fotografía analógica de royos y químicos, nací a la fotografía con la era digital...:-), pero sé que hay lentes especiales para corregir este efecto de la perspectiva.
La verdad nunca tuve uno..., tengo una reflex (Canon XTi), y de a poco me voy haciendo de lentes, por ahora para algunas cosas solo tengo el PS...;-)
Thanks a lot for the suggestion, Gustavo! I think you meant something like the attachment - or even better than that. I don't use such operations on images very often since the introduce too many "wild" pixels at the regions that get streched. For me the best way to keep the right perspective is to use a classical wonderful T/S lens. No PS could ever do what such a lens does, and this will be one of the next things I'll buy. Still in many cases I heavily prefe the distorted parallelity in the vertical direction, and especially when it does the same as what the optically converging leading lines do in the horizontal direction. (Which is not the case on this image.)
Thanks a lot!
Nick
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Used perspectivic distortion for getting the vertical lines parallel after Gustavo's suggestion
Extraordinaria arquitectura, aquí a mí me hubiera gustado corregirle las distorciones de la perspectiva para encuadrar mejor la imagen, como si la fotografiara justamente de frente...
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