These are the best Sony tilt-shift solutions—because Sony doesn’t currently make native tilt-shift lenses, your strongest options pair E-mount bodies with proven T/S glass and smart adapters—and here’s what to look for as you buy: confirm mount + adapter compatibility (Canon TS-E via Metabones/MC-11; Nikon PC-E via the correct aperture-control adapter), prioritize generous image circles and movement ranges (±10–12mm shift, ~±8–10° tilt) with independent tilt/shift rotation, check lock strength and rotation detents, test copy alignment at “zero,” favor long, repeatable focus throws and clear distance scales, plan filtration (many wides need 100mm holders or rear gels), and remember stabilization—no T/S has OSS, so rely on IBIS or a solid tripod. Gold-standard adapted primes: Canon TS-E 17mm f/4L (ultra-wide interiors/atriums, huge image circle for big shifts) and TS-E 24mm f/3.5L II (architecture staple with excellent micro-contrast) plus the macro/swing heroes TS-E 50mm f/2.8, 90mm f/2.8, and 135mm f/4 for products, tabletop, and compressed exteriors. Nikon PC-E alternatives remain stellar when adapted: 19mm f/4E (line-true ultra-wide), 24mm f/3.5D (budget workhorse), and 45/85mm f/2.8D for plane control on portraits and macro—just ensure your adapter supports the lens’s aperture mechanism. Native E-mount shift-only primes are fantastic for facades and stitched panos: Laowa 15mm f/4.5 Zero-D Shift (huge image circle, minimal distortion) and Laowa 20mm f/4 Zero-D Shift; both deliver smooth ±11mm shift with low wave distortion—add a holder for grads/CPL since fronts are bulbous. Best value tilt-shift on a budget: Samyang/Rokinon 24mm f/3.5 Tilt-Shift (latest version with independent axis rotation) adapted via EF-E—long throw, decent locks, and plenty of travel for real-estate and city work. Advanced routes for maximum movements include medium-format glass on tilt/shift adapters (Kipon/Mirex style) with Mamiya 645/Hasselblad V wides or a mini-view system (Cambo Actus) for bellows-level control—bigger, but unmatched movement and precision. Practical buyer tips: pick focal length by subject—17–20mm for tight interiors and tall exteriors, 24mm as the do-everything architecture anchor, 45–90–135mm for product/tabletop and selective-focus portraits; insist on independent tilt/shift rotation so you can align axes freely, standardize on EF-mount T/S if you swap between E-mount bodies (one lens, multiple adapters), and budget for a rigid 100×100/100×150 holder where fronts don’t take screw-ins. Shooting tips: level the camera and “rise” with shift to keep verticals parallel, rotate the shift axis for diagonal corrections, apply tiny tilt (1–2°) to obey the Scheimpflug rule on tabletops, stop to f/5.6–f/8 for edge discipline, bracket shifted frames for flawless panos, use live-view magnification + peaking to set critical focus, disable IBIS on a locked tripod if you see drift, and mark a “zeroed” position so you can return to neutral instantly. Whether you’re straightening glass-and-steel towers, staging reflective cosmetics at 45°, or crafting miniature-city effects, the best Sony tilt-shift workflows combine top-tier adapted TS primes, clean shift-only natives for rectilinear extremes, and disciplined technique—so your lines stay true, your planes of focus obey, and your files stitch, grade, and deliver like a pro.