Description
Canon TS-E 24mm F3.5 L II lens
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Canon TS-E 24mm F3.5 L II lens
£1,949.00
Out of stock
Additional information
| Product code | CA25738 |
|---|---|
| Barcode | 4960999635163 |
| Barcode2 | 0013803108613 |
| Weight | 1.5 |
| Brand | Canon |
38 reviews for Canon TS-E 24mm F3.5 L II lens
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Debraj Das –
Ein sehr kompetentes Objektiv; es ist sehr stark auf Vollformat.Es benimmt sich sehr gut mit Gegenlicht, wo viele Weitwinkel sonst nicht wirklich liefern. Farben und Kontrast sind immer brillant und die Ecken sind selbstverständlich scharf und frei von Aberrationen. Man kann sehr nah fokussieren, für außergewöhnliche Perspektiven. Hier ist die Linse allerdings nicht in ihrem besten Bereich.Man kann auf der gleichen Seite Tilt und Shift machen, oder auf verschiedenen Achsen.Wenn Sie sich gewöhnt haben, brauchen Sie nicht immer Live View: ein guter Sucher reicht schon. Ich rede nicht von Miniatureffekt, das Sie auch mit Fotobearbeitungsprogrammen viel billiger erzielen können, sondern um: 1) Korrektur (oder Verstärkung) von Stürzenden Linien 2) Objekte in Fokus zu bringen, die auf verschiedenen Entfernungen liegen 3) Dinger außer Fokus bringen, die Sie nicht scharf sehen wollen.Dieses Objektiv liebt keinen Regen!
Jane Silman –
amazing lens.
Mrs Rawndale McColm –
After years of missing large format cameras with their swings and tilts, and of course their wonderful large film size that together produce incredible images, I think I have found something that will lessen my longing.This tilt-shift lens combined with a high-pixel DSLR (like the Canon EOS 5D Mark II) enable a photographer to produce images that can rival the best from medium format cameras and even can under the right circumstances push image quality into 4 x 5 inch sheet film territory.I got this lens, snapped it onto my camera and got excellent results right away. It helped to spend some time refreshing my memory about how to use tilts and shifts but aside from that, there was nothing mysterious about this lens other than the magical quality it possesses for producing sharp, colorful images that can be free of converging lines or offer incredible field of focus control.Other’s have described various technical qualities of this lens and most online reviews describe the several improvements this lens offers over it’s predecessor.The big ones are better control over chromatic abberation and the ability to independently control the axes of shift and tilt. Closer focus is also a bonus.Opinion varies about sharpness in the corners but all agree this is perhaps one of the sharpest lenses in Canon’s line-up. My example delivers sharp corners so perhaps my copy is better that some of the reviewers?I had to choose between this lens and more traditional ones (I was looking at the 70-200mm) and decided that this lens offered me the things I could get with no other lens – a lens great for interiors, exteriors (architecture) and new landscape dimensions. I can get the zoom later! This lens is unique. I wasn’t sure how much I would like it but now that I’ve had some seat time with it, I could never think of being without it.Usual L quality – beefy, precise, and consistent behavior for all controls!Not a bargain price but it’s the old adage – you get what you pay for!
Ferris –
I bought my lens copy used in mint condition as upgrade from my 24/3.5 vers. I T/S lens. Optically it is a visible improvement – shifting the lens fully up or down does not lead to any cumbersome vignetting in the corners as the old lens version did. The lens overall is very sharp and provides an excellent image quality.I also like that tilt and shift functions can now be rotated against each other easily in any angle.Compared to my old version of this lens, I only see a few drawbacks which I want to mention here. Optically it does not make a difference, but the built style of the old T/S version was a metal housing while this new version uses plastic. This is especially visible when using the interlock buttons which are now tiny plastic locks (formerly metal). As mentioned in other reviews below, the new version now uses a 82 mm filter thread. This might have been needed to create a larger image circle of the lens to shift it better and to remove vignetting issues, but it forces you to get a new polarizer and/or ND filter if needed. In comparison with the older 24 mm T/S lens, you need now to keep a close eye on the scale of the tilt/shift positions. My old lens “jumped” easier back into the zero position while the new lens doesn’t do this and might easily still be one mm off center if you are not careful. But you get used to the new system easily to center back correctly.In my opinion it is the best 24 mm lens which Canon has available in regard to sharpness and for the tilt/shift performance image-quality wise.
N. McGuinness –
Yes, for professional landscape and architectural photography, there is no other lens that can better this. There is a very steep learning curve to owning this lens and in the right hands can produce some truly magnificent images. Unfortunately, after months of use, I just wasn’t wowed by the images and sold this in exchange for an 85mm 1.2L – of which I am wowed by the images.Ignore my slight negativity – this is really one fine piece of glass: image quality from top to bottom and left to right is very sharp indeed. Nothing less than a 5-star rating.
mark cavanagh –
Coming from a background of large format and slow speed film emulsions I feel qualified to comment on sharp lenses – a sub-standard lens doesn’t cut it on a sheet of 5×7 inch film! Having moved to digital this lens proves that the gap between traditional film and digital imaging has been reached and left far behind. This lens is totally unbelievable in its coverage, degree of resolution, build quality and ease of use.If I could own just one lens for landscape photography then this is it.
Gemma Henderson –
I was probably one of the first photographers to use a tilt & shift lens in the UK. (Around 1982, I was commissioned to produce images to be used in the Canon handbook showing the tilt & shift in use.) To get the best from the lens you really need to have a good understanding of how to use all the movements of a large format studio camera. The attached image shows only the coloured balls in focus, something you cannot do with a normal lens. The lens really comes into its own for landscape, architectural and static object studio photography; because of the time it takes to set the lens up and get what you want in focus, buildings vertical etc. For me some 30 plus years of use of this lens means it is a lens I cannot do without.
Sylvia Cross –
Top notch, even if you never shift
Purplescorpio –
This is the one you want.
LIZETTE HENRIQUEZ –
Not a lot to say here. This lens is not a zoom, not fast and it has a very large image circle. So there’s every reason to expect it will perform and boy, does it ever. It’s true that shifting, especially if you shift all the way, lowers the image quality. But this lens is so sharp and has so little chromatic aberration there seems to be resolution to spare. Image circle, freedom from CA, vignetting, and ergonomics are all superior to the Nikon 24PC (and that lens is no slouch, either.)Good as the 24TS is, I would recommend stopping it down, even when you’re not shifting. I know the test reports always say “Its fabulous wide open so stopping down just invites diffraction.” This is certainly true in theory and probably in a test environment, but I find it’s best at f/8 – f/11, even unshifted.Liked the 24TS so much I bought the 17TS also. While the 24TS lacks the coolness factor of the 17, the 24 is, in my opinion a much more useful focal length. (It’s also a tiny bit sharper but they are both first class.)