Canon TS-E 24mm F3.5 L II Images Quality and Specification Review

Canon TS-E 24mm F3.5 L II and the TS-E 17mm F4L. But while the latter quite normally got the main concentrate as the widest-angle viewpoint management optic ever made for an SLR system, both include significant enhancement over current popular styles.

Canon TS-E 24mm 3.5 L II review
Canon TS-E 24mm 3.5 L II review

Formerly the point axis was set as conventional at 90º to the shift axis, and the contacts could be customized to set them both in the same axis if the consumer preferred. This limitation has now been removed, making the lens motions, and therefore innovative options, much more versatile. The point and shift procedure moves +/-90°, enabling change in any route, and in addition the point procedure individually moves +/-90°, enabling point in any route comparative to the shift. This performance allows photography lovers to increase details of area in their pictures without preventing down as far as they would otherwise need – essential when wanting to press every last pixel of details from the newest 20+ Mp DSLRs while preventing the unhealthy negative results of diffraction.

Canon has also gone to city on the the visual styles, such as the use of high-precision aspherical front components to keep distortions to the lowest, and several UD components to lessen chromatic aberration. In the case of the TSE 24mm F3.5 L II, this indicates a significantly more complicated system than its forerunner – 16 components in 11 categories, in comparison with the 11 components in 9 categories of the mature design. According to Canon the useful picture group is also much bigger – 67.2mm in contrast to 58.6mm – which in concept allows a greater variety of motions without vignetting. The lens also uses the company’s new ‘Sub-Wavelength Structure Coating’, which is meant to lessen surface and blurry significantly in contacts that contain large curve-radius components – most especially wideangles. Involved as well is the currently-fashionable round aperture diaphragm, meant to give an attractive edition to out-of-focus areas of the picture.

The price for all these developments is, however, pretty spectacular. The ‘II’ edition instructions a $1000 top quality over the mature lens on its release, which indicates it costs very nearly as much as an EOS 5D Mark III body. There will potentially be more than a few owners of the very first lens thinking whether it’s worth the update, and whether the new optics and adaptability of motions offer adequate reason to break out the bank card. Let’s see what we can find out.

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Canon TS-E 24mm Headline features

  • 24mm central length; F3.5 highest possible aperture
  • ± 8.5° Tilt and ±12mm Shift
  • Independent spinning of point and shift motions (through 90º and 180º respectively)

Canon TS-E 24mm Body And Design

As we’d expect from a Canon L sequence lens, construction is exceptional, with top top quality materials and. This is perfection technical technological innovation in a form hardly ever seen in photography equipment today, and a far cry from the all-electronic control buttons and calls found on modern DSLRs. All manages and motions are magnificently sleek and accurate, and for a lens providing such versatility of motions, it’s extremely simple use.

Canon TS-E 24mm 3.5 L II Body And Design
Canon TS-E 24mm 3.5 L II Body And Design

The manages for the various motions are organized around the encounters of the gun barrel in a fashion that simply asks use of the word ‘festooned’. In the standard settings as proven above (with no shifts applied) the point manages are at the upper and lower of the lens, and the move manages on the two ends. Two little handle an eye on the right hand side (i.e. beside the camera’s handgrip) open up the separate spinning motions for the point and move axes. These levers are rather little, and may not endear themselves to scenery photography lovers who need to wear safety gloves. Overall though, it’s a really well thought out design, user-friendly and with few functional eccentricities.

Lens whole body elements

  • The narrow line is 82mm, as used on the 16-35mm F2.8 L II. The rear-focus design means that the front factor does not move on concentrating.
  • The bayonet set up EW-88B bonnet comes as conventional, and can be turned around for storage space. The medial side is covered with dark experienced to reduce representation of wander light into the lens. This bowl-shaped bonnet is superficial (just 19mm deep) but very extensive across (12cm). It’s not simple to support in a bag; and Cannon also suggests a using piece of card to further colour the lens in shiny circumstances.
  • The concentrate band has a 24mm extensive ribbed-rubber hold. It moves roughly 100 levels from infinity to the nearest concentrate of 0.21m, with an attractively sleek and accurate action. The position of view clearly reduces on concentrating nearer.
  • On the top of the lens gun barrel is a large button managing the point activity. This provides 8.5° point either part of center, with a range noticeable at 1° amounts. There’s a company detent at the fairly neutral place.
  • On the left part of the lens (looking from the rear) is a medium-sized button managing the move procedure. This provides ±12mm activity, with a range noticeable in 1mm amounts (and once more with no red represents – all roles are available without important vignetting). Again there’s a company detent at the main place.
  • Also involved is this bigger add-on button for the move management, which is suggested for use on cameras which don’t have a built-in display. It’s pretty simple to set up, just as long as you’ve got a little enough screw driver. It’s well worth using if you’re capturing 1D or 5D sequence cameras, as it makes the move management more accurate. However as you can see here, it does prevent exposure of the move range.
  • On the right part of the lens beside the digital camera’s handgrip there’s a little securing button for the move activity, plus a copy move range. The two little handle an eye launch the spinning motions by forcing in reverse towards you whole body. The one at the back of the lens is for spinning the move procedure, and the more ahead of the two for the point.

Canon TS-E 24mm Test Results

Macro Focus

A 24mm point and move lens is probably your very last stop for close up work, so we’ve left out our regular macro analyze. The lens’s specified nearest concentrate range is 0.21m, and this results in a restricted working range of just 6cm from the topic to the lens, making illumination challenging. Highest possible zoom is estimated by Canon as 0.34x, which should associate to an picture area of 106 x 71mm on full structure.

Canon TS-E 24mm 3.5 L II Images Macro Focus
Canon TS-E 24mm 3.5 L II Images Macro Focus


Central sharpness is extremely high start up, but the ultimate sides are just a little bit smooth in contrast. Quit down to the lovely identify around F8 – F16 though, and the lens provides outstanding outcomes right across the frame; by F22 the picture has melted clearly due to diffraction.


We consider falloff to become obvious when the area lighting drops to more than 1 stop less than the center. As we’d anticipate for a lens with a huge picture group, falloff is very low, at just 1.3 prevents start up.


Control of surface is a crucial function of a wideangle lens; with such an extensive perspective of the world, shiny mild resources will find themselves in the structure on consistently. This is especially the case with a move lens, which has a broader position of perspective than a traditional lens with the same central length (in effect the TS-E 24mm has the same position of perspective as a 15mm lens, and a full structure indicator successfully enforces a 1.6x plants on the overall picture circle). Luckily the lens does pretty well working with surface – even capturing outside in shiny summer sun we’ve experienced few problems – but it’s certainly possible to pick up some unpleasant artifacts when capturing into mild and torture-testing the lens.

Canon TS-E 24mm 3.5 L II Images Flare
Canon TS-E 24mm 3.5 L II Images Flare

With the sun placed in the area of the structure we see the predicted various colored surface styles – these are most noticeable at the extreme conditions of the aperture range, and are generally least undesirable at around F5.6 – F8. With the sun placed just outside the structure, we were able to generate a large spot of red veiling surface, most noticeable at more compact apertures of F11 and more compact. In this situation it’s value taking into consideration that the (necessarily) really superficial lens bonnet doesn’t do very much, and offering additional covering makes significant amounts of sense whenever possible. So it’s value heeding the advice Canon gives in the guide, and holding around a piece of card board to use as a ‘countermeasure for dangerous rays’.

Chromatic aberration

Canon unique TS-E 24mm F3.5 L was somewhat well known for horizontal chromatic aberration, with a unique propensity to show green/magenta fringing around high comparison changes towards the advantage of the structure, especially when moved. Our studio room assessments recommend that the new lens details this issue almost absolutely – and after searching through several number of real-world photos too, we’re pleased to review that CA is not a issue at all.

Canon TS-E 24mm 3.5 L II Images Chromatic aberration
Canon TS-E 24mm 3.5 L II Images Chromatic aberration

The example below demonstrates this. Particularly set up as a CA ‘torture test’, with the lens absolutely moved and light/dark changes placed in the structure, we see only a little fringing even in the ultimate area, and it’s of the relatively discreet red/cyan type (as instead of much uglier green/magenta). Most of the structure is without any charge of fringing in realistic conditions – which given this lens’s large picture group and position of perspective is breathtaking indeed.

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Canon TS-E 24mm Specifications

Street Price • $2200
• £1900
Date introduced May 2009
Maximum format size 35mm full frame
Focal length 24mm
35mm equivalent focal length (APS-C) 38mm
Diagonal Angle of view (FF) 84º
Diagonal Angle of view (APS-C) 60º
Maximum aperture F3.5
Minimum aperture F22
Lens Construction • 16 elements / 11 groups
• Aspherical elements
• 3 UD glass elements
Number of diaphragm blades 8, rounded
Minimum focus 0.21m (8.3″)
Maximum magnification 0.34x
AF motor type Manual focus only
Focus method Internal (rear) focus
Image stabilization None
Filter thread • 82mm
• Does not rotate on focus
Supplied accessories Front and rear caps, hood
Weight 790g (28 oz)
Dimensions 89mm diameter x 106mm length
(3.5 x 4.2 in)
Lens Mount Canon EF only