Dafna draws parallels between the style of her work and the classical paintings of religious scenes that inspired her. Her work can be seen worldwide in museums, gallery shows and photography festivals. Her series A Lasting Faith is focused on contemporary Orthodox Christian monks and nuns.

"Many interesting classical paintings depict a very large area that is impossible to capture with a camera lens, no matter how wide. Some of them are almost panoramic in all directions. This allows the eye of the viewer to explore a greater area across the artwork, and they're also free of the distortion that is inherent with ultra-wide-angle camera lenses."

The benefit of shooting with a tilt-shift lens, used correctly, is that the lines, shapes and other elements in a large scene will remain beautifully balanced. Mike Burnhill, Canon Europe's European Technical Support Manager, says: "The Canon TS-E 17mm f/4L is quite a specialist lens. It's intended for architecture photography, but it can also be great for landscapes and other genres. Using the shift function makes it possible to create panoramic images that will seamlessly fit together without any of the distortion that might otherwise occur if you move the camera. Despite offering such a wide angle and a range of optical movements, the Canon TS-E 17mm f/4L has stunning optical performance with little distortion thanks to the glass-moulded aspherical lenses and four ultra-low-dispersion optics."

"When using the shift element of a tilt-shift lens, I take care to position the camera and lens parallel to the scene and make sure it is perfectly level," says Dafna. "You can edit your image in software to introduce the shift effect after-the-fact, but you will lose important detail and reduce the quality of the photograph. To keep things level I use a good, stable tripod and use its in-built bubble level to make sure the camera is level both vertically and horizontally to avoid distortion in the scene. I also rely on my Canon 澳门现金网_申博信用网-官网's Electronic Level, which is a great feature, to keep an eye on the level of the camera itself.

"I take care to ensure that my focus is in the desired place, and ideally use an aperture of f/8 to get crisp, sharp photos. However, this aperture choice isn't always possible when photographing in dark conditions.

"New, high-quality lenses will increase your artistic freedom, so it is important to renew your set of lenses from time to time. But I find a tilt-shift lens can change the whole way you shoot. While it's not for every photographer, once you master it, its new abilities feel like magic."

"In product or still life photography, it is always about drawing the viewer's attention to certain areas in the image," explains Eberhard. "Work with a wide-open aperture and use the tilt function to focus on only the areas you want to be rendered sharp. By shooting like this, you can create beautiful bokeh effects in the background as well as achieving extreme clarity on your subject.

"It's important to remember that unusual perspectives can be particularly captivating. Shooting with a tilt-shift lens that has a longer focal length will dramatically amplify any effect you add to the scene."

Mike Burnhill says: "The Canon TS-E 90mm f/2.8L Macro lens offers the widest range of movements of any tilt-and-shift lens on the market. With its 90mm focal length, it is also ideal for portraits. By using the tilt and rotation functions, it's possible to create stunning portraits, controlling exactly the area you want sharp. To enable the background to be thrown even further out of focus, use a fast aperture."

"I generally don't think much about the technical side of photography," he says. "I just want to work [with the kit] and produce a photo that gives me the feeling that I'm looking for in the story. The Canon TS-E 45mm f/2.8 lens is something I have used for many years, especially for portraits. It is incredibly sharp and gives me the opportunity to work with sharpness and blur in a way I can't with other lenses. The most important thing for me is not to exaggerate the tilt effect. In fact, sometimes I'll use the lens without any tilting at all."

In this emotive series about children displaced by war, the Canon tilt-shift lens enabled him to place the focus squarely on each child he photographed. This created poignant images where the subjects were sharp and their surroundings soft and dreamy – despite many of these surroundings being harsh, even unsafe locations.

"We have been pumped with pictures of bombed cities in Syria and people fleeing war," he explains. "It is hard to take it all in. In the end you feel like closing your eyes. But to meet the children, as I did, in such relatable, everyday situations, such as when they are going to sleep, I feel it's that much more difficult to ignore. For instance, everyone can relate to the fact that a child should have security and a safe environment when they fall asleep for the night."

"Do not overdo the tilting," advises Magnus. "It is easy to want to take advantage of the effects you can get, but it is usually not good if you exaggerate too much."

Magnus also says that he finds it difficult to see exactly where the focus is when he looks through the viewfinder, but: "I get around this by taking many pictures in a sequence, changing the focus a little while I shoot."

Canon's Mike Burnhill says: "Although the Canon TS-E 45mm f/2.8 is a superb lens, the Canon TS-E 50mm f/2.8L Macro is the latest update to the Canon tilt-and-shift lens series, and introduces macro capabilities alongside the outstanding optical performance, which is everything you'd expect from Canon's legendary L-series lenses. An alternative use for this lens, besides the obvious architectural or portrait work, is to create artificial macro images. By shooting subjects such as a street from a high viewpoint, you can use the tilt function to reduce the amount of sharpness on the subject. This gives the appearance of a macro image with their inherent shallow depth of field."

Magnus completes his tilt-shift advice: "Use continuous shooting mode and adjust the focus manually as you shoot. If you don't yet have a tilt-shift lens, I recommend that you try to experiment as much as possible with the cameras and lenses you already have. Look at other photographers, but also try to find your own way. Sometimes it doesn't work but other times it becomes magical. That's the charm of photography."