These are the best Rokinon tilt-shift lenses when you want true perspective control, selective-focus tilt, and budget-friendly, full-frame coverage for architecture, interiors, product tables, and miniature-look video—and here’s what to look for as you buy: confirm image circle and movements (aim for ±12mm shift and around ±8.5° tilt with independent rotation so you can align tilt and shift separately), check rotation detents/locks for precise “rise/fall” and axis swaps, favor long, smooth manual-focus throws with hard infinity stops for repeatable pulls, inspect sample alignment (zero-tilt/zero-shift should render line-true), ensure solid markings on both sides for tripod work, and pick mounts that adapt well (Canon EF/Nikon F versions adapt cleanly to most mirrorless; PL versions don’t exist here); for video rigs, plan for follow-focus clearance and consider clamp-on matte boxes over screw-in filters, since many TS lenses use large fronts. The workhorse is the Rokinon 24mm f/3.5 Tilt-Shift (a.k.a. Samyang T-S 24mm f/3.5, including the updated “II” with improved locks): full-frame diagonal coverage, ±12mm shift and ±8.5° tilt, independent 90° rotations of both systems, multi-coatings for flare control, and a long, damped focus throw—perfect for line-true facades, interior “rise,” stitched panos without keystone, and tabletop Scheimpflug focus along product planes; it’s available in Canon EF, Nikon F, Sony A, and others, and adapts well to mirrorless (EF→E/RF/Z/L) while retaining movements. For Super35/APS-C bodies, the same 24mm behaves like a ~36mm-equiv. TS—great for product and moderate architecture when space allows; on Micro Four Thirds it becomes a ~48mm-equiv. TS for meticulous tabletop and packshot work with generous movements thanks to the large image circle. If you live on gimbals or do mixed photo/video, consider buying the EF mount and adding a solid EF-to-mirrorless adapter with a support foot so the rotating sections stay square; for ultra-wide “TS-ish” looks at low cost, pair the 24 TS with a Rokinon 12mm fisheye or 14mm and de-fish + vertical-correct in post when true movements aren’t essential (not a replacement, but handy for travel). Practical buyer tips: choose the newest “II” version for sturdier tilt/shift locks, test your copy for centered sharpness at zero movements, bring a small hex key to snug knobs after shipping, standardize on one mount (EF is the most adaptable), budget for a 100×100 or 100×150 holder if you need grads/NDs on big fronts, and learn your body’s electronic level/histogram since the lens is fully manual. Shooting tips: level the camera and shift up instead of tilting to keep verticals parallel, rotate the shift axis for diagonal corrections on slanted facades, use tiny tilts (1–2° goes a long way) to lay focus along tabletops via the Scheimpflug rule, bracket shifted frames for seamless high-res panos, stop to f/5.6–f/8 for edge discipline, use live-view magnification + peaking to set critical focus, disable IBIS on a locked tripod, and save a “zeroed” custom mark for fast resets. Whether you’re straightening glass-and-steel towers, lighting reflective cosmetics at 45°, or crafting dreamy miniature cityscapes, the Rokinon 24mm f/3.5 Tilt-Shift delivers large-image-circle control, predictable mechanics, and clean rendering—so you get line-true, intentional focus without paying boutique tilt-shift prices.