Canon TS-E 24mm f/3.5L II Tilt-Shift

Specifications

• Focal Length: 24mm
• Maximum Aperture: f/3.5
• Minimum Focusing Distance: 8.3"
• Angle of View: 84°
• Filter Size: 82mm
• Length: 4.2"
• Weight: 1.72 lbs

Note: This is a manual focus-only lens.

This Item Normally Includes: Front cap, rear cap, UV filter, and lens hood.

Description
This lens offers enhanced functionality and image quality in its most popular tilt-shift focal length. Designed with UD glass to minimize and compensate for chromatic aberrations and specially coated aspherical elements for the highest possible glare-free image quality, this lens has an enhanced range of movement of up to +/- 8.5°. It also has revolving construction for both portrait and landscape shooting modes and locking, ergonomically designed and easily operated tilt and shift knobs.

BorrowLenses.com Writeup (by Sohail)

There are a few different 24mm prime lenses in Canon’s lineup: this one and two versions of the 24mm f/1.4 (Mark I and Mark II). Zeiss makes a couple that are in nearby focal lengths (a 25mm CP.2 specifically for video shooting and a 21mm ZF.2 Manual-focus lens). All are excellent lenses - the Canon models are part of their high-end ‘L’ series lenses and the Zeiss lenses are renowned for their quality.

Yet in real-world, demanding environments where focusing speed isn’t as much a concern, but sharpness, low chromatic aberration and distortion are key, the 24mm TS-E f/3.5 Mark II is turning out to be one of the best lenses in Canon’s lineup. Shooting in low light, with a wide open aperture (where chromatic aberration and sharpness are often at their worst), this lens presents the the best picture amongst all of the 24mm primes available in the Canon mount. That massive front element (it’s an 82mm filter-size lens) seems to just soak in light, apply magic to it and put out some of the finest images I’ve ever captured. Add the selective focus you get with the tilt function and the potential of the shift function to produce amazing panoramas and correct perspective problems (like the tall lines of a building appearing to merge at the upper floors, rather than staying parallel) and you have one of those lens rentals that landscape and architectural shooters will want to keep coming back to.