Aaron D said:
OK if I understand apodization correctly, this would be a fantastic thing for the next (not holding my breath) 24 mm TSE lens. It would reduce the little halos you get around light bulbs, right? This has taken months out my life (cumulatively), correcting in photoshop.
If it was strong enough then it could work that way, yes. However, to completely solve your problem we're talking about a strength such as three to four stops of light loss; around double the usual strength of an in-lens apodisation filter. So the 24mm f/3.5 would be something like t/10-16. The more normal two stops of apodisation certainly still
reduces both halation and ghosting/doubling of point light sources, and would 'only' leave you around t/7.1, but you'd still need to spend some time in Photoshop to solve it entirely, so then you have to ask if it's worth the bother; you'll still need to edit it regardless.
CanonFanBoy said:
I've never seen a TS lens in person. Are they really big enough that a tripod foot is needed? Is there room for one?
Tilt-shifts are essentially medium format lenses, so their image circle covers a far larger area than the usual 35mm sensor space. They're also extremely dense lenses, making them heavier than their length and width suggests.
For example, looking at size (WxL in millimeters) and weight of the 24mm lenses Canon makes:
EF 24mm f/2.8 IS: 69x56, 280g
EF 24mm f/1.4L II: 84x87, 650g
TS-E 24mm f/3.5L II: 89x107, 780g
So you can see how the tilt-shift 24mm is wider, longer, and heavier than other 24mm lenses, despite having the smallest aperture, no autofocus, and no IS system. For reference, the Canon 24-70 f/2.8L II is only 20g heavier than the TS-E 24mm, and that's a zoom lens with autofocus, full weather sealing, and an aperture two thirds of a stop wider.
All that said, using some form of secondary support for a tilt-shift lens usually comes from large format use, where you might square the lens with the subject and want to shift or tilt the stock or plate (i.e. the camera itself). This is because with a large format camera, getting the lens aligned right is the harder part, and in many cases the lenses are heavier and more of a pain to shift or tilt than the rest of the camera. Some people are so used to that method that they continue to use the same technique with medium format and small formats. Of the current Canon tilt-shifts, only the 135mm is actually heavy and long enough to potentially require a tripod for the sake of simply keeping the camera stable and steady, and even then, it's borderline. (It's about the size of the 70-200 f/4L IS)