Archives For lens

Review: Canon 24mm TS-E F3.5L II

Jay Patel —  November 21, 2011

tse_24mm_586x186

Last week, we reviewed Canon’s 90mm TS-E lens – one of two lenses we rented from LensRentals.com for our recent trip to Iceland. We’ve been considering purchasing a tilt-shift lens, and wanted to try these our before making a final decision. Renting a lens is the perfect solution, and Lens Rentals does a great job for us, every time.

We posted a video in our earlier blog post that gives a breif overview of how a TS-E lens works. You can view the video at:

http://www.youtube.com/user/DigitalRevCom#p/search/0/0HRYlJUwzYA

Once again in this review we will focus on creative aspects of using TS-E lenses, rather than focusing on technical reviews.

Canon’s 24mm TS-E is a second generation lens. Besides improvement in sharpness, Canon adapted the lens to allow the tilt and shift axis to rotate independently of one another. This allows for an extra degree of creative controls that was missing in the first generation lens… and we love it! Unlike Canon’s 17mm TS-E lens (which has a bulbous front element), this lens can easily accommodate 82mm filters. On the downside, this lens is heavy and requires manual focusing. The lens hood is of limited use because this is a wide-angle lens… but it does come in handy at times. The lens is incredibly sharp, and the build is excellent. There is some reduced sharpness at the edges when the lens is fully shifted.

One of the biggest advaintage of a T/S lens is its ability to control the DOF beyond what a traditional lens can handle. While the exact procedure requires some experimentation, a T/S lens can allow a photographer to get very close to the subject and maintain a sharp focus throughout the image. In this example, I used the tilt functionality to get the foreground sharply in focus, and used the shift axis to compose my shot so that the foreground leaves were only inches away from my lens.

Another creative way to use a T/S lens is to build panoramas by moving the lens along its shift axis between exposures. Here is an example of a panorama captured with Canon’s 24mm TS-E lens. I took three separate shots – one at center, a second shifted all the way to the left, and a third shifted all the way to the right. I blended the three shots in Photoshop.

Canon’s 24mm TS-E F3.5L II lens offers an incredible opportunity to get creative. This is another expensive lens – and it’s different from what you are used to – so unless you are really sure you want it, take the time to try it out before you buy one.

Jay and I wanted to be able to photograph the wildlife in Glacier National Park – but our lens collection is geared towards wide-angle landscapes and macro photography. For shooting wildlife – especially when you can’t (or don’t want to) get too close to your subject – you want to have a long lens. But lenses are expensive – so rather than purchasing one we won’t use regularly, we rented a Canon 300mm f/4.0 from LensRentals.com. Of course, we didn’t think about renting a lens until the last minute (go figure), so we weren’t sure they could get it to us on time. We emailed to find out if they could do it, and they assured us they could. We put in the order Monday afternoon, requested overnight shipping, and the lens arrived Tuesday afternoon… so it was packed and ready in plenty of time for our 4am departure Wednesday morning.

I have to say, we were really impressed with LensRental.com – the service was excellent, the website was clean and easy to navigate, and the ordering process was simple. The lens was clean and in perfect condition when it arrived. And perhaps most importantly, their prices are more than reasonable. You can expect to pay extra for overnight shipping, of course – but they ship two-day standard… so plan a little better than we did, and you won’t have to take on that extra expense.

So, I know what you’re thinking (because I’m a little bit psychic)… you’re wondering why we didn’t choose a longer lens… or a wider one… or a zoom. Actually, the 300mm f/4.0 is perfect for us. It’s small enough to fit neatly in our camera bag – 22.1 cm long (8.7 in) without the lens hood extended, and weighing in at 1.19 kg (2.62 lb). That’s important since we do a lot of hiking and we don’t want to be lugging around a huge lens everywhere we go. It’s also smaller and lighter than the f2.8 version. As for zoom capability – we just don’t need it. We can use the lens on a full frame body for a 300mm focal length, or put it on our 1.6 crop factor body for 480mm. If we need more length, we can add our 1.4x extension tube – for a total focal length equivalent to 672mm… and that’s more than enough for our needs. When we are on location, we don’t want to bring more than we need. The 300mm f/4.0 was just right.

 

All right – let’s get down to the good stuff. This is one gorgeous lens. It’s an L-series (L is for Luxury) lens with first generation Image Stabilization capability. It’s beautifully sharp and quick to focus… which is great when your subject isn’t likely to hold still for long. It also has an integrated lens hood – easy to store and no fumbling with the dang thing when you need it. It just slides right into position. Image stabilization has two modes – one for dual-axis camera-shake correction, and one that handles a single axis for use when panning. In the latter case, the lens will automatically determine your panning direction – pretty cool. Minimum focusing distance is 1.50 m (4.92 ft).

Take a look at this shot of a ground squirrel. (No – not that photo… that’s Jay. The one below!) It’s incredibly sharp, and the soft background is a testament to the beauty of shooting with a wide aperture. You can see that f/4.0 is wide enough to get that soft background, but we’re still getting enough depth of field to get the animal in sharp focus. I took this shot from about ten yards away – and cropped a bit to get the squirrel out of the center.

Glacier National Park - Montana, USA

And here’s a 100% crop to show you how much detail we are getting out of this lens… click to see it full size. Keep in mind that this is completely un-sharpened. (Image Specs: f/4.0, 1/400, ISO 200) The finished image above has been prepared for web viewing and sharpened accordingly.

Take a look at some of the other photos we took with this lens during the trip…
The Bighorn Sheep were gathered near the Logan Pass visitor center on our first evening in the park. (Image Specs: f/4.0, 1/80, ISO 400) Jay took this shot with a tripod – be sure to turn off the Image Stabilization if you are using an IS lens on a tripod.

A few minutes later, a family of Elk wandered into the area. Jay took a few photographs in the fading light. (Image Specs: f/4.0, 1/160, ISO 1600) Even at a high ISO, the photos look excellent!

You can get creative with this lens, too – it’s not just for wildlife portraits. While waiting for construction vehicles to move aside, we took a few photos of the wildflowers blooming on the mountainsides. (Image Specs: f/6.3, 1/800, ISO 200)

And last – but not least – here’s a shot that just makes me smile. (Image Specs: f/4.0, 1/400, ISO 100) Sometimes the wildlife ham it up for the camera.

Glacier National Park - Montana, USA

To sum it all up – this is a beauty of a lens. Relatively lightweight, great for wildlife and other creative shots, and so so sharp. What’s not to love? And once we were home, we packed the lens back up in the box it arrived in, slapped on the shipping label LensRental.com provided, and dropped it off at UPS for shipping. Now, I’m ready to rent a couple of tilt-shift lenses for Iceland! We’ll write up reviews for those when we return!

Quick Tips: Using a Long Lens

Varina Patel —  September 8, 2011

Blinded by the Light - Varina Patel

This is a photo from the Florida Everglades. I was struck by the beauty of the rising sun over the distant horizon – but my wide-angle lens would not have been able to do justice to the scene. The fact is, this incredible golden color was only present right around the rising sun. The rest of the sky was a bright, clear blue – and these were the only visible clouds. So, I put the wide-angle lens away, and pulled out my 135mm prime.  The longer lens let me fill the frame with gold – leaving me with an extremely simple, monochromatic color scheme. The sun calls out for attention here – and I included a small stand of dwarf cypress trees as a secondary point of interest. I chose a diagonal composition for a more dynamic image… and to compliment the angle of the sunbeams.

I needed to think fast for this shot – a few more seconds and the sun and clouds had shifted their positions. I wanted the sun just peeping out from behind the cloud as you see it here. Luckily – aside from a quick lens change – very little setup was required. I didn’t need a GND filter, since the range of light is actually relatively even. And a circular polarizer won’t do much for you if you are shooting directly in to the sun… so I didn’t need that either. I did use a tripod – more out of habit than anything else. My shutter speed was 1/640 sec, so I could have hand-held the shot without a problem.

Post-processing took just a few minutes. I chose the color balance carefully – making sure that the golden light seemed to glow. An incorrect color balance would have left this image feeling dull and heavy – and with light like this, that would have been a crime!

I was also careful to control the blown highlights in this shot. It’s perfectly acceptable to have blown highlights in an image when you are shooting directly into the sun. If you look directly at the real sun, can you see detail there? Of course not. So, reducing the brightness of the sun would result in an extremely unnatural-looking image. On the other hand, the last thing I want to do is end up blowing out half my sky. So, I kept a close eye on my histogram and kept my adjustments very controlled.

A little bit of contrast – not too much. No saturation adjustment necessary. That’s about it.

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Congratulations!

Jay Patel —  November 2, 2010

We are pleased to announce the winner of the Visual Wilderness photo contest – Mike Issak is the winner of a brand new Sigma 20mm f1.8 prime lens! His image, titled Float Away, stood out from the rest. Not only is it ethereally beautiful, his technical skills are spot on as well. We love the smooth surface of the water, the striking composition, and the gorgeous colors.

Mike – we wish you the best with your new lens… and thanks for entering the contest!

You can see what Mike had to say about his image, and take a look at the fantastic photos from the runners up here. Thanks to all those who entered!