This is also one of the first lenses to employ Canon’s new SubWavelength Coating technology, which is supposed to greatly reduce or eliminate internal reflections and image degrading lens flare. So just to clarify, when I stated above that the lens and teleconverter combination was at f/8, it means two stops from wide open, but with an effective aperture value (light transmission) of f/11. The camera will report the f/stop as though the teleconverter was not attached. Note that while the camera does not recognize that the 1.4x teleconverter is attached when used with the TS-E lenses, it’s still possible to make exposures.
#Canon ts e 17mm full#
In contrast the 24 exhibits more barrel distortion, though because in this image it’s at nearly full shift, the distortion is not symmetrical across the frame (if that makes sense): While the 1.4x TC seems to introduce a touch of barrel distortion to the 17, it’s very slight.
Note the difference in distortion between the two. The center of the image is about the only area I can find where the TS-E 24mm mkI performs slightly better than the 17 with 1.4x TC. Note the relative lack of CA:Ĭenter crop from unshifted TS-E 24mm mkI f/8:Ĭenter crop from unshifted TS-E 17mm w/1.4x TC f/8: TS-E 17mm w/1.4x TC, full shift f/11 crop. The full frame shots have been reduced to 600 pixels height and given some USM in Photoshop. Crops are 100% from the original TIFF files, saved as quality 12 Jpegs in Photoshop without additional sharpening. Granted, not extreme corner revelations that can only be attained on full frame…Ī couple technical notes: Images were processed through Canon’s DPP with some slight curves adjustments and RAW sharpening set to 1. There are already a number of decent reviews and summaries of the two new Canon tilt-shift lenses the TS-E 17mm f/4L and the TS-E 24mm f/3.5L II on photo forums and review sites but not a lot touching on how these lenses work when combined with the 1.4x teleconverter.įor the photo enthusiast out there, many probably care more about seeing results from a full frame camera, but the samples here should still give an idea of what to expect from the TS-E 17 & 1.4x TC vs. I suspect the new 24 will outperform the 17 based on initial reviews on a couple forums, but for my purposes, and the camera I use, I think the 17 with or without the 1.4x teleconverter will be good enough. I’m curious to eventually see how well the 17 & 1.4x combo will stack up against the new 24 tilt-shift, but haven’t had a chance to try one of those yet. My interest in the 17 is based partly in finding an all-around high quality super-wide solution to replace the 16-35 when quality is paramount, a wider shift lens, but also to use it as a replacement for the TS-E 24mm Mark I, when coupled with the 1.4x teleconverter. But my main issue with it was a quite high degree of chromatic aberration (CA), especially when shifted, and some barrel distortion. Until now, I’d been using the TS-E 24mm f/3.5L, which offered the equivalent angle of view of a 31mm lens. On the Mark III the effective angle of view is similar to 22mm on a full frame camera. a full frame sensor camera, so the announcement of the TS-E 17mm f/4L tilt-shift lens was a nice surprise. It’s always been an issue to get wide enough coverage in certain situations vs. I use Canon 1D Mark III cameras (and now also the Mark IV), which aren’t full frame sensor, rather APS-H. Please note I’ve added an updated (2010.02.17) at the bottom.
#Canon ts e 17mm portable#
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#Canon ts e 17mm pro#
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#Canon ts e 17mm series#
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