(Having the ability to rotate the barrel 45 degrees from right angle to parallel for both tilt and shift is an invaluable feature and doubles the creative possibilities of a tilt-shift lens). The Tilt, Shift and barrel rotation all function smoothly and extremely precise. I have no idea if this jargon is really what helps the lens control flare and ghosting, but something sure does, so we’ll just take their word for it. Canon boasts it’s SWC (subwavelength Structure Coating). It comes with a nice high-end lens cap that fits snugly and has an attached lanyard. And it better be for the price Canon is charging. (Although you may have to take out a second mortgage to get your hands on it)Īs far as the lens’s physicality goes, it is made very well.
#Canon ts e 17mm full
So what do you do if you shoot wide and want to take advantage of the new sensor technology and expect to get sharp images from corner to corner? Well, until recently, you had about four options: 1) You could get the EOS 14mm 2.8 L II and still deal with the same problems as above, but have the ability to crop the soft corners out to about an 18mm equivalent… 2) Get your hands on a Zeiss 18mm Distagon and a third-party adapter… 3) Get your hands on the amazing Nikon 14-24 F2.8 and a third-party adapter… Or 4) Switch over to the Nikon System completely to take full advantage of the 14-24…īelieve me, plenty of people chose #4 and it makes you wonder if the Canon corporation really cares how much of their professional DSLR customers they lose to Nikon, since the major money makers for Canon have always been business machines and consumer grade point-and-shoots… Besides the major chromatic aberration issue with both lenses, and the 17-40’s seemingly uncanny ability to make a straight horizon crooked, there is the issue of soft corners at 17mm (the main focal length at which most users buy the lens for) at practically any aperture. But as I became more and more experienced and spent more time scrutinizing finite details of each image, both the 17-40 and the 16-35 left me feeling fairly disappointed. After trying out several copies and comparing it to the 16-35 L, I came to the conclusion that although not perfect, it serves it’s function quite well and is pretty much Canon’s best bargain in it’s focal length. I have been a long time user of the 17-40 L and have found it extremely useful in the ultra-wide range. The 17-40 F/4 L and the 16-35 F/2.8 L may be fine lenses under many circumstances, but as megapixels increase with each generation of new bodies, flaws in optics become more and more apparent.
This enables an even greater degree of tilt or shift ability.As a Canon user who primarily shoots landscapes (and a large portion of the time at wide focal lengths) I like many of you, have become frustrated with the EOS ultra-wide lineup. Now you can choose on a shot-by-shot basis how you want either the tilt or shift aligned relative to the subject, and the other lens movement, for the most creative control.Īll TS-E lenses have a larger than standard image circle, but the TS-E17mm f/4L lens and the TS-E24mm f/3.5L II USM lens (both lenses have the same size of image circle) have the largest image circles amongst the Canon tilt and shift lens range. While it is possible to align them so they are in the same plane, it required a trip to the service centre to have this done by one of the technicians. With previous tilt and shift lenses, the factory default was to have the tilt aligned at 90° to the shift. The new ability to rotate the tilt and shift mechanisms relative to each other adds another layer of versatility to the lens. This TS-E17mm f/4L lens provides a 104° diagonal field-of-view for capturing true wideangle scenes.Īlthough architectural photographers are the traditional market for this type of lens, it will also be of great interest to landscape photographers who want to be able to shoot their landscapes with wider apertures while still retaining depth-of-field throughout the image. The TS-E17mm f/4L lens is the widest tilt and shift lens in the world for 35mm cameras and is ideal for landscape and architectural photographers looking to get more into their images.Īs the megapixel counts in cameras rise more photographers who would traditionally use medium and large format cameras with lens or camera movements are switching to shooting with digital 35mm SLR cameras with their increased portability and wider lens range.
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