In the 1990s, I often worked with a Nikkor 35mm PC (perspective control) wide angle lens.
This allowed for a degree of correction using a shifting front element to minimize the effects of convergence of vertical lines on the film plane.
In this November 1992 view of Washington Union Station, I made good use of perspective control to keep front of the building from the appearance of falling away from the viewer. (A common complaint with wide angle architectural views).
While a very useful tool, I eventually sold the lens because I felt that it wasn’t sufficiently sharp in the corners, also it was comparatively slow (just f3.5 at its widest aperture.).
I’ve posted this image as another example of my work with a perspective control lens. This was a tool I made excellent use of in the early 1990s. On the recommendation of J.D. Schmid, I bought a Nikon 35mm PC ‘Shift’ lens for my Nikon F3T.
Among the advantages of a perspective control lens is the ability to shift the front element. This can be used to keep vertical lines from converging, but also to alter the image in subtle ways.
It was a clear Saturday morning in the Bay Area, and Brian Jennison and I were on one of our jaunts looking at area railroads. We stopped near the old station location at West Pittsburg (no ‘h’), California. (I believe the palm trees in the distance are an indication of where the building once stood.) Here we photographed several trains.
For this eastward freight, I positioned the camera relatively low to the ground and raised the front element of the 35mm PC to near its maximum. I didn’t quite keep the camera level. The result includes a large amount of crystal blue sky, while minimizing the foreground and keeping the vertical elements of the lead locomotive nearly parallel with the image frame.
I feel the subtle effect allows the locomotive visually surge forward, seeming to charge along. This was my intent. Santa Fe 5809 is an SD45-2, a machine powered by EMD’s 3,600 hp 20-cylinder diesel.
In their heyday these were powerful machines that produced an awe inspiring low-base sound in the high-throttle positions. I hoped to convey that power visually while making use of the California sky.
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