These are the best Sigma tilt-shift solutions—because Sigma doesn’t currently make native tilt-shift lenses, your best results come from pairing Sigma bodies and mounts with proven third-party T/S glass and smart adapters—and here’s what to look for as you buy: confirm mount + adapter compatibility (Sigma MC-21 for EF→L-Mount; MC-11 for EF→Sony E; high-quality EF→Z/E/L adapters with electronic aperture support for Canon TS-E lenses), prioritize image circle and movement range (±10–12mm shift, ~±8–10° tilt with independent rotations), check rotation detents and lock strength, favor long, repeatable focus throws with a trustworthy infinity, test copy alignment at “zero,” and plan filtration (many T/S fronts need 100mm holders or rear gels); for video, consider breathing and follow-focus clearance, and for handheld stills, rely on IBIS because T/S lenses rarely stabilize. The gold-standard adapted primes are Canon TS-E: 17mm f/4L (ultra-wide interiors/atriums, huge image circle for big shifts), 24mm f/3.5L II (architecture all-rounder with excellent micro-contrast), 50mm f/2.8L Macro (1:2 macro with swing for product planes), 90mm f/2.8L Macro and 135mm f/4L Macro (tabletop and compressed exteriors); they adapt cleanly to Sigma fp/fp L and L-Mount cameras via MC-21 and to Sony bodies via MC-11 with full aperture control and EXIF. Nikon PC-E options are stellar on mirrorless with the right adapter: 19mm f/4E (line-true ultra-wide), 24mm f/3.5D (budget workhorse), 45mm/85mm f/2.8D (product and portrait tilt magic); just ensure your adapter supports the aperture mechanism applicable to your PC-E generation. Budget-friendly: the Samyang/Rokinon 24mm f/3.5 Tilt-Shift (latest “II” version) offers ±12mm shift/±8.5° tilt with independent rotations and a long throw—great value for full-frame Sigma shooters via EF adapters. Need shift-only rectilinear extremes? Laowa’s Zero-D Shift primes—15mm f/4.5 and 20mm f/4—deliver huge image circles, minimal distortion, and smooth ±11mm shift for facades and stitched panos (no tilt, but lighter and sharp). Advanced paths for maximum movements include medium-format adaptations: a Mirex-style T/S adapter plus Pentax 645 wides (35/3.5, 45/2.8, 55/2.8) or Pentax 67 75mm f/4.5 Shift provide generous image circles and elegant rendering on Sigma L-Mount bodies. Practical buyer tips: choose focal length by subject—17–20mm for tight interiors and tall exteriors, 24mm as the architecture staple, 45–90mm for tabletop/product and selective-focus portraits; insist on independent tilt/shift rotation for flexible axis alignment; standardize on an EF lens set if you swap between Sigma L-Mount and Sony E (one lens, multiple adapters); budget for a rigid 100×100/100×150 holder on bulbous or rotating fronts; test for even sharpness at zero tilt/shift and micro-adjust technique (tiny tilts go a long way). Shooting tips: level the camera and “rise” with shift to keep verticals parallel, rotate the shift axis for diagonal corrections, apply the Scheimpflug rule with 1–2° of tilt to lay focus along tabletops, stop to f/5.6–f/8 for edge discipline, bracket shifted exposures for flawless panos, use live-view magnification + peaking for critical focus, disable IBIS on a locked tripod, and set a “zeroed” mark so you can return to neutral instantly. Whether you’re straightening glass-and-steel towers, staging reflective cosmetics at 45°, or crafting miniature-look cityscapes, the best Sigma tilt-shift workflow combines top-tier adapted TS primes, reliable electronic EF adapters, and disciplined technique—so your lines stay true, your planes of focus obey, and your files grade and deliver like a pro.