Remember the 102-year-old lens experiment we shared a week ago? Daire Quinlan did something similar — he combined his grandfather’s 6×9 Pocket Kodak lens from 1920 (90 years ago) with homemade bellows to create his own tilt-shift lens to play with. Unlike Timur Civan, who used his 102-year-old lens on a 5D Mark II, Quinlan used his frankenlens with a Nikon film camera.
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Lensbaby unveiled a new accessory at Photokina called the Tilt Transformer, which allows you to use Nikon mount lenses on EVIL camera bodies as an instant tilt-shift lens with twice the tilt of normal TS lenses. It’s currently available for Micro Four Thirds bodies, but will be available for Sony NEX cameras as well starting on October 28, 2010. The Tilt Transformer comes with the Lensbaby Composer in a $350 package, or separately for $250.
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Here’s a fun idea: take famous landscape paintings and add a tilt-shift effect to them! This series of images was created by Artcyclopedia using famous Van Gogh paintings. We love how the selective focus gives the paintings a new dimension.
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Here’s a fun little tilt-shift, time-lapse video by The Bitter*Girls showing a sumo wrestling match in Japan. The two techniques make the video look almost like a clay animation, with little-big people trying to toss each other out of the ring.

(via Laughing Squid)

The Sandpit is a beautiful short film by Sam O’Hare that shows New York City in miniature using a shallow depth-of-field. In an interview on Aero Film, O’Hare says,

It is shot on a Nikon D3 (and one shot on a D80), as a series of stills. I used my Tamron 17-50mm f/2.8 and Sigma 50-150mm f/2.8 lenses for all of these shots. Most were shot at 4fps in DX crop mode, which is the fastest the D3 could continuously write out to the memory card. The boats had slower frame rates, and the night shots used exposures up to two seconds each. [...] I shot over 35,000 [stills].

I did some initial tests a while back using a rented 24mm tilt-shift lens, which is the standard way to do this. However, after my tests, I found it made much more sense to do this effect in post, rather than in camera [...] The entire shoot was completed in 5 days and two evenings, during the hottest week of August 2009.

We found it interesting that the tilt-shift effect was faked (as was most of the movement of the camera).