This may look like it's redundant, but is actually a very welcome addition as it stops you from accidentally tilting the lens either when taking it out of the bag, or when shooting handheld. On the base of the lens we have a small knob for locking the tilt movement at the selected position, plus a second switch which can lock the tilt movement at the neutral position only. Note that while the older TSE 24mm had the extremes of the scale marked in red to indicate a risk of vignetting, that's not the case here - a benefit of the larger image circle. There's a firm detent at the neutral position. This offers 8.5° tilt either side of centre, with a scale marked at 1° increments. On the top of the lens barrel is a large knob controlling the tilt movement. ![]() The angle of view noticeably decreases on focusing closer. It rotates approximately 100 degrees from infinity to the closest focus of 0.21m, with a beautifully smooth and precise action. The focus ring has a 24mm wide ribbed-rubber grip. It's not easy to accommodate in a bag and Canon also recommends a using piece of card to further shade the lens in bright conditions. This bowl-shaped hood is shallow (just 19mm deep) but very wide in diameter (12cm). The interior is lined with black felt to minimize reflection of stray light into the lens. The bayonet mount EW-88B hood comes as standard, and can be reversed for storage. The rear-focus design means that the front element does not rotate on focusing. The filter thread is 82mm, as used on the 16-35mm F2.8 L II. There's no O-ring weather seal around the lens mount - weather sealing such a complex device is never going to be a realistic option. The lens uses Canon’s all-electronic EF mount, and will fit all of their DSLRs regardless of sensor format (APS-C, APS-H or 35mm full-frame). Like Canon's other TS-E lenses (and the reason why they don't qualify for the usual 'EF' designation), the 24mm F3.5 L II is manual focus only. This makes the new optic similar in size and weight to many of Canon's familiar L series lenses (similar in diameter to the 24-70mm F2.8 and 24mm F1.4 L II, and about halfway between the two in length). The new barrel design results in an 11mm (0.5") increase in diameter and a 19mm (0.75") increase in length, with weight going up substantially too. ![]() The TS-E 24mm F3.5 L II is a fairly big, chunky lens, and is notably larger than its predecessor. Overall though, it's an incredibly well thought out design, intuitive and with few operational quirks. These levers are rather small, and may not endear themselves to landscape photographers who need to wear gloves. beside the camera's handgrip) unlock the independent rotation movements for the tilt and shift axes. Two small lever tabs on the right hand side ( i.e. In the default configuration as shown above (with no rotations applied) the tilt controls are at the top and bottom of the lens, and the shift controls on the two sides. The controls for the various movements are arranged around the faces of the barrel in a fashion that simply begs use of the word 'festooned'. All controls and movements are beautifully smooth and precise, and for a lens offering such flexibility of movements, it's remarkably straightforward to use. This is precision mechanical engineering in a form rarely seen in photographic equipment today, and a far cry from the all-electronic buttons and dials found on modern DSLRs. (From left to right and top to bottom top of lens barrel, bottom of lens barrel left hand side, right hand side front and rear.)Īs we'd expect from a Canon L series lens, build quality is exemplary, with top quality materials and finish.
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