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Canon TS-E 24mm f/3.5 L II Lens ( Wide 24mm focal length, ± 8.5° Tilt & ±12mm Shift)

by Canon

Available from these sellers.
2 new from £1,649.99 1 used from £1,529.00
  • Tilt/Shift Lens with Sub wavelength structure and super spectra coatings minimising ghosting and flare
  • Wide 24mm focal length, ± 8.5° Tilt and ±12mm Shift
  • +/-90° rotation mechanism
  • Aspherical and UD lens elements minimise chromatic aberration
  • Circular aperture for creative, blurred highlights.


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Product details

  • Product Dimensions: 13,700 x 13,700 x 19,800 cm ; 780 g
  • Boxed-product Weight: 1.1 Kg
  • Item model number: 3552B005AA
  • ASIN: B001TDM7DA
  • Date first available at Amazon.co.uk: 18 Feb 2009
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)

Product Description

Product Description


Expanding the possibilities for tilt and shift photography
The TS-E 24 mm f/3.5L II allows tilt and shift movements to be made independently of each other. This means perspective and depth of field can be controlled separately, vastly enhancing lens flexibility.

Widest range of movement
A wide-angle focal length of 24mm, combined with ±8.5° of tilt and ±12mm shift makes the TS-E 24mm f/3.5L II a versatile optic. Furthermore, ±90° of rotation on both the tilt and the shift mechanisms is available. The lens also features locks on the tilt and shift mechanisms to ensure unwanted movements are avoided.

High precision lens elements
A high-precision, large-diameter moulded glass aspherical lens element gives outstanding edge-to-edge resolution and low distortion. Chromatic aberration – common in wide-angle shooting – is combated by four UD (ultra low-dispersion) elements.

Subwavelength structure coating
Designed for use in digital photography, Canon’s patented lens element coating helps minimise the ghosting and flare caused by internal reflection and helps to deliver crisp, clear images.

Robust build quality
Canon L-series lenses are built to withstand regular use in the most testing environments. Weather and dust seals provide added protection. A lens hood and pouch are also included.

Lead-free optics
Lead-free glass is used throughout the construction of the TS-E 24mm f/3.5L II.

Customer Questions & Answers

Customer Reviews

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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By J.Roughley on 21 April 2013
Verified Purchase
I wanted a lens that would give me edge to edge sharpness with little or no distortion ,and that I'd be able to continue using my Lee Filters,this is it!

I have the Canon EF 16-35mm f/2.8L II USM Lens , while its a great lens..the corners leave a lot to be desired , not to mention the distortion involved.
I know we can correct distortion in post processing but it loses resolution and sharpness.. to a degree I wasn't prepared to accept anymore.

I looked at the Canon TS-E 17mm f/4.0 L Lens (Ultra wide 17mm focal length, ± 6.5° Tilt & ±12mm Shift) and with some work you can modify to allow the Lee Filter set up, this comes with limitations with Tilt/Shift functionality there are newer systems out there that would work also , but with so much invested in Lee, it wasn't an option , so I chose the TS-E 24mm II , takes the filters via a 82mm filter ring (same at the 16-35 mark II), its fantastic , the build quality is amazing, solid piece of gear with smooth operation.

With shifting and stitching you can emulate a 14mm lens, stitching it a breeze due to no distortion, the lens will allow infinite focus without the need to stop down to apertures that would introduce diffraction , meaning an edge to edge sharp distortion free image at the resolution your camera outputs, I don't shoot Architecture but I have tested it on buildings correcting perspective and its brilliant at what it does.
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21 of 23 people found the following review helpful By paulowen_2000@yahoo.com on 2 Sep 2012
Verified Purchase
Coming from a background of large format and slow speed film emulsions I feel qualified to comment on sharp lenses - a sub-standard lens doesn't cut it on a sheet of 5x7 inch film! Having moved to digital this lens proves that the gap between traditional film and digital imaging has been reached and left far behind. This lens is totally unbelievable in its coverage, degree of resolution, build quality and ease of use.
If I could own just one lens for landscape photography then this is it.
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7 of 8 people found the following review helpful By Paul K Stanley on 11 May 2013
Verified Purchase
Yes, for professional landscape and architectural photography, there is no other lens that can better this. There is a very steep learning curve to owning this lens and in the right hands can produce some truly magnificent images. Unfortunately, after months of use, I just wasn't wowed by the images and sold this in exchange for an 85mm 1.2L - of which I am wowed by the images.

Ignore my slight negativity - this is really one fine piece of glass: image quality from top to bottom and left to right is very sharp indeed. Nothing less than a 5-star rating.
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1 of 2 people found the following review helpful By Massimiliano Volpi on 10 April 2014
Quite a few reviewers talk about a steep learning curve. I think they are correct: I have just started the climb and there is one aspect of the lens that really bothers me. Exposure. As you can see from Canon's T&S manuals (you find these on Canon's website, when you look for these lenses), Automatic Exposure does not work when you tilt or shift the lens. If any of the Tilt and Shift settings for the lens are engaged, then your readings of the exposure will not be correct and the camera will be fooled into over- or underexposure. So, you have to decide exposure in manual mode, before you adjust the tilt and shifts regulations, and stick to those exposure values to get a correct exposure when you adjust the regulations.
It's not very practical and, with Photoshop offering all the functions that a T&S can offer, the investment in such an expensive lens can be questioned. (I did not know this when I bought the lens, but Photoshops also allows creating pictures with extreme depth of filed: you can do that by taking a few pictures with different focusing distances and stitching everything together in post production; converging lines canj also be retouched in post-production, but this is less likely to be new to you..)
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