FYI, it's possible to use extenders with the TS-E 90/2.8 lens. Both the 1.4x and 2.0x work well, giving 126mm/4.0 and 180mm/5.6 equivalents.dafrank said:
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New Tilt-Shifts in 2013? [CR1]
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A tele-end TSE lens would be great to the current lineup (though I haven't tried the 90 TSE, it seems like a lot of people have high regards for it).
At least it will be very helpful when shooting fireworks + bridge from faraway, where you end up with too many black space when using the 17 TSE and cropping can only do so much....
At least it will be very helpful when shooting fireworks + bridge from faraway, where you end up with too many black space when using the 17 TSE and cropping can only do so much....
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I have been hoping for a 45TS-E II every since I first got my hands on the 24TSE-II 
Truthfully I don't think the current 45 is bad at all, I don't hesitate to use it when I need shift at that focal length. But the thought of an improved version on par with the 24 and the 17 makes me excited.
Truthfully I don't think the current 45 is bad at all, I don't hesitate to use it when I need shift at that focal length. But the thought of an improved version on par with the 24 and the 17 makes me excited.
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paul13walnut5
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@kirillica
I used mine (24 TS-E) for the usual converging vertical corrections (In the slipway shot I wanted to keep the camera back level so as to keep the bridge pillar and the reflection straight, the shift let me do this but also move the frame to the interesting area)..
but also parallax free panoramic stitching using the shift movement along a horizontal plane.. on both these shots (Garrison House cumbrae, and Erskine Bridge pano) a wider angle lens could have been used, but it would have affected the image resolution, by shifting and stitching I was able to generate a much higher resolution image without parallax issues, as the camera back was always in the same position.
And finally I used it for the selective depth of field trick. I could have used the tilt the other way to increase the depth of field, prefered this way to focus on a specific area, this let me focus on the same plane as the sloping rock in the foreground, where as a conventional lens would have only given me a slice of focus this close to the camera.
I used mine (24 TS-E) for the usual converging vertical corrections (In the slipway shot I wanted to keep the camera back level so as to keep the bridge pillar and the reflection straight, the shift let me do this but also move the frame to the interesting area)..
but also parallax free panoramic stitching using the shift movement along a horizontal plane.. on both these shots (Garrison House cumbrae, and Erskine Bridge pano) a wider angle lens could have been used, but it would have affected the image resolution, by shifting and stitching I was able to generate a much higher resolution image without parallax issues, as the camera back was always in the same position.
And finally I used it for the selective depth of field trick. I could have used the tilt the other way to increase the depth of field, prefered this way to focus on a specific area, this let me focus on the same plane as the sloping rock in the foreground, where as a conventional lens would have only given me a slice of focus this close to the camera.
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briansquibb
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Indeed the use of panos instead of uwa lens is something which is often overlooked. Why get a 17mm TSE and a 24mm TSE when a 2 wide pano does the job better.
The 2 wide pano means you gain height by shooting portrait. A vertical pano using the shift function is another technique that can be gainfully used
The 2 wide pano means you gain height by shooting portrait. A vertical pano using the shift function is another technique that can be gainfully used
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briansquibb
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privatebydesign said:
I guess I can afford the 5 minutes for a stitch - especially as the quality and detail is greater than the single image
I regularly do panos.
With a 5Dc you will end up with a 30mps image from a 3 image pano. I have just done a 8 wide pano landscape using 1DS3 and 70-200 f/2.8II giving me an image 24180 x 4858. If I had done this with a 14mm my image would have still been in the 3:2 ratio and missed a lot of detail as it would have been 21mps.
OK that is an extreme version, but a 2 pano gives about the 3:2 but with about 8k x 5k with detail that blows your mind - and the d800 mps becomes small at the same time.
The bottom line is that instead of two lens and one 21mps body I end up with indefinite virtual lens and a very high mps body.
Stitching is one way of increasing the function of ones equipment
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Jylkat
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It seems likely that Canon will upgrade the TS 45mm and 90mm since Schneider has put out a 50mm and a 90mm, which apparently are superior to Canon's offerings. But they are also pricey (app. $3,300)!
I wish canon would make a lens foot for the TS lenses, so it would be easier to make perfect panoramas, when the lens would stay in exactly the same place and only the camera would be moved.
I wish canon would make a lens foot for the TS lenses, so it would be easier to make perfect panoramas, when the lens would stay in exactly the same place and only the camera would be moved.
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Stick it on a gigapan epic pro and you can have anysize landscape you like tookirillica said:trust me, 100L is excellent in case of focus, colors, CA, vignette and so on. and it's AF tooSandyP said:kirillica - sharpness is not ultimately that important of a factor when determining the "best" qualities of a lens. The 100L might be one of the sharpest Canon lenses, but so what? What about other functionality? Like contrast, color, focus speed, durability, CA, vignette, bokeh, aperture, IS? I can promise you THIS though, the 100L certainly cannot tilt, or shift .kirillica said:
If you don't know what you'd use this lens for, then I assure you, you don't need one.
I used mine for some product shots, but also mainly used it for unique perspectives and portraits. But traded it (the 90mm version) for the 45mm version so I could use it for more things like group shots and environmental portraits. But I still love the unique charm of the 90mm. And I'll get it again next year.
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kirillica said:
How did you dream that up?
The 100L isn't a bad lens, but as far as being Canon's sharpest, it wouldn't make the top 5, and maybe not even the top 10...
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I'm not going to say I like my 45 and 90 tse lenses and will welcome the upgrades(there are most definitely CA problems), however more importantly I would rather see Canon bring out a 35mm TSE, the 45mm does not seem to be a useful range for the architectural spaces I worked in over the years whereas I am always wishing I had a 35mm tse that compared to the new 24mm. And while the 90 is ok, again if it was either an 75mm (preferable) or 110 mm tse it would have more practical architectural use in my humble opinion
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I would suggest using crop cameras. After all, buying an additional crop body is not any more expensive than buying another tilt shift lens! I use a NEX with the 24II to get to 36mm, and with the 45 to get to 68mm. Or if you stick with a Canon 1.6x body those TSE lenses become 38mm and 72mm.Jeff said:
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