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The following opinions have been automatically translated with Google Translate.
  | sent on 11 Febbraio 2025 Pros: Deadly optics for a few narrow areas of use Cons: Protruding front lens, a few too many flares/ghosts, uncomfortable and not very versatile for everything that is not architecture Opinion: I have owned this lens for almost 10 years and I have used it a lot in the field of indoor photography and little in outdoor photography. It is deadly and highly recommended in these two cases: 1 - you are paid well to take quality photos of prestigious properties and generous dimensions. 2 - you are paid little to take photos in very narrow rooms, with this you solve many of your problems during the shooting phase and the post is very fast. In all other cases it is a lens that you probably don't need, any 16-35 zoom does just as well and costs less as well as being much more versatile in all other contexts (landscape, sport, street, etc.) To use it at its best it takes a little more time in the shooting phase, to adjust the framing with the shift function and personally it lengthens my time a bit because I let myself be tempted and try different shift values and often while I'm at it I make panoramas of 3 shots (multiplied by the braketing values) where they may not be needed. On the quality side, it is not as top as you might believe, in terms of sharpness and flare resistance it is beaten big time by the more "cheap" and modern EF 16-35 f/4 L. It also has a slight distortion that does not correct as well as with other more common lenses. Its biggest flaw is that especially in the case of many point lights you find ghosts and flares here and there to be corrected in post. I have used the tilt function a handful of times for pleasure and never for work. |
  | sent on 04 Dicembre 2020 Pros: focal wide without appreciable distortions and TS Cons: those connected with the project... Physiological Opinion: Two lines to say mine: I have this lens recently but I am using it very intensively for photographic reliefs in interiors (decorated walls and ceilings). Given the need to keep the real geometries as truthful as possible, I went from the spherical bubble of the stand to high sensitivity linear bubbles, I must say that it really takes a lot of attention to the micrometric adjustments of the head, and an external display is almost indispensable to improve the frame. Having said that, the results are excellent, the better the more patience has been devoted to positioning. For what I'm doing, a controlled light is essential, but this is another story... |
 | sent on 04 Agosto 2018 Pros: A professional lens that keeps what it promises. Cons: Projection of the lens and flare Opinion: TS stands for two terms that stand for Tilt and Shift and that is the possibility of being able to act on the focus (Tilt) and the shift of the frame without moving the camera but simply acting on the lens (Shift). The first function (Tilt) allows to focus more subjects on different planes and not parallel to the plane of the film/sensor, this allows to increase the depth of field and then the portion of focus without acting on the diaphragm as for the objectives Traditional. The second function (Shift), which is that pleasing to the architecture and interior photography, allows to eliminate the falling lines and to return a real and undeformed perspective, in summary the vertical lines remain parallel to each other and perpendicular to the Horizontal plane. In order for everything to work the system (camera and lens) must be placed "in bubble" otherwise the TS does not do its job and behaves like a normal target. I use this lens for some time and after having tested it I'm going to write a few lines. Once you fully understand its operation you realize its potential and what it can do as opposed to a normal lens. First, its 17mm, as we all know, are many more than more wide lenses that are used not in the bubble but bent upwards to bring the subject back into the frame; In fact to straighten the falling lines you cut much of the frame and this inevitably reduces as an effect the angle of field of the ultra wide lens. It is a lens that as opposed to what you think can be used quietly without a tripod if you own the level inside the camera and if you have enough light to be able to photograph with decent times. The manual focus of this lens is not a decrease but a technical fact because the AutoFocus cannot work with a decentrable lens. You appreciate the importance of this type of system only when you use, I happened to take photos with more wide lenses but returning to the same point I could verify that what I can do a TS-E can not do so no other goal; Of course if you have the space to be able to movere and the ability to rise is clear that does not make sense a TS-E but if you're in a square with little chance of movement or at home with all the limits of space is clear that the lens you can exploit to the best of its possibilities and No other lens can give you the same results. In my shots (someone you'll find in this section) I use this lens almost always decentrated to the maximum with great satisfaction and mainly on the outside but it is a lens that you can use quietly as a simple wide angle for any type of photos and Then the lack of deformation returns shots with a very high image quality. You can do a lot of things and you can indulge very much given its creative vocation not least the possibility of being able to combine more shots decentrating the lens in order to get a wider view of the 17mm starting. WITH REGARD TO THE USE OF THE FILTERS USE THOSE WITH LEE PLATE WITH ADAPTER RING PRODUCED FOR THIS SPECIFIC LENS BY LEE, WITH ATTACHED POLARIZER OF 95 MM FOR THE SYSTEM LEE 100. It is undoubtedly a very niche lens but when you use it you realize the potential that can express such an instrument. |
 | sent on 04 Giugno 2016 Pros: multifaceted lens, photographic detail quality, sharpness even at the edges, very little spherical distortion, construction, versatility in use, precision focus ring, ease and speed of use (as a result of appropriate learning period). Cons: protruding lens, without lens hood therefore subject to conspicuous flare with light sources coming from the top with an angle of about 45 °; Difficulty mounting filters available on the market (example a polarizer to reduce reflexes during shooting). I solve the flare with the use of the hand; Perspective deformation on maximum decentralization. Opinion: Practically the 17mm, in all situations is clearly sharper than the lenses of equal focal, in the foreground, at infinity and at the edges. The spherical aberration is low, the lines are straight (i.e. straight, not curved...) Even when the camera is not perfectly bubbled (as opposed to the 16-35 L II). This lens can be used as a simple wide angle or, even better, as a multifaceted lens to create panoramic photographs of remarkable quality, visual impact and richness of detail both in terms of resolution and in terms of sharpness. To do this you have to position the camera in a bubble, decentralize the lens to the maximum and then make 5 sequential shots at the following decentralization references:-12mm,-7, 0, + 7, + 12mm. Results of vertical and horizontal decentralization: if the camera is positioned vertically, the combination of the 5 shots (e.g. with Photoshop Photomerge) will return a single photo with a shooting amplitude equivalent to a 14-15mm; If the camera is placed horizontally, the merging of the 5 shots will return a single photo with a shooting amplitude equivalent to a 10, 5mm. If you use a 22Mp camera, you will get a picture of about 90Mp, net of clippings and edges to be trimmed after the software assembly operations. While decentralising to the maximum, i.e. from-12mm to + 12mm, the phenomenon of vignetting, often referred to as defect, is eliminated in the assembly phase by the software with very good results. The only flaw in the use of panoramic decentralization is the perspective effect on the edges: a rectangular object, horizontal (example a picture), placed at the left or right edge, will be distorted so much that it looks vertical in the merged photo... Not negligible problem for professional photos to use catalog. You can also use decentralization without having to visualize the views. For architecture photos, where the vertical planes must be straight and not converging upward, just frame the building, move the axis of the camera until the lines are parallel and straight and then decentralize the lens to move the shot towards Up or down (so it's not the camera to move). By tilting instead, depending on the alignment of the plane of the object to focus and the plane of the sensor, you can manage the depth of field from low to extended to infinity. For example, if you want to photograph a sportsman in the starting grid on the track, you can isolate it with selective focus by tilting it to the left or right. At F4, only the vertical strip of 1 metre (approx.) around the sportsman will be in focus. An exceptional lens that allows for a unique level of creativity compared to other lenses. To learn to use it there are many video tutorials on YouTube and in particular, is very interesting that made by the Canon in collaboration with Vincent Amphorat. |
 | sent on 28 Aprile 2014 Pros: Tilt and shift, of course; short-throw; also uses art, made at the corners, flare limited (due to the absence of the hood). Lately, Lee Filters catalog has a dedicated kit. Cons: Lens exposed, the time required for pre-trip (in case they were needed quickly); Price sobering. Opinion: I would choose the 24 TSE, but the 7mm focal length less sometimes I just necessari.rnLente top of the range that has a very high resolution (one of the best ever). For those who need to architectural shots (or at least with straight lines) I would say that it is the right lens; not to mention that you can use it anyway as any wide angle freehand. Made perfectly straight lines as long as you put the car whenever you click on the bubble. The lens needs at least a dusting of optics / physics to understand the concepts of plan and convergence / divergence (but clear concepts to anyone who engages in such a purchase). A flaw, but not the lens of marketing: in contrast to all the lenses that I acuistato, the package does not include the classic instruction book, but I'm a brochure (in common with the 24 TSE) that explains the features in many languages. Personally, I find it confusing and not at all complete. Even online there is nothing. Sin. |
 | sent on 27 Febbraio 2014 Pros: The shorter lens basculabile shift lens. Cons: Heavy, front lens too exposed. Opinion: Of course, given the very short focal length, you could not ask designers Canon to find a way to protect the front lens of this view, which to all intents and protrudes in an exaggerated way to limit the goose bumps every time you mounts on macchina.rnE 'a particular goal, which should be able to manage, you should be very careful and pay close attention to always put it in bubble before making the various tilting and decentralization, otherwise skewed images, strange, and not the most reali.rnIn 'ideal is to work around the f/11-11/16-16 aperture to get a shallow depth of field sufficient to return the width of the scene inquadrata.rnCome tilt and shift all the objectives with this 17mm can be fitted together images taken with the movements of the horizontal and vertical decentralization, to get a picture with a roughly square amplitude of the angle of the field even more extreme and rich in detail that a fixed lens will never neither frame nor restituire.rnOttica for professional photographers architettura and interior, very good but just as complex to manage to be able to exploit to the fullest. rnSinceramente I find that the 24 TSE is much easier and intuitive to use without regret angle of 17mm wider than this. |
 | sent on 30 Ottobre 2012 Pros: Image quality, sharpness, solid construction, unique in its kind, creativity Cons: Weight, size, front lens is very exposed, manual focus, high cost Opinion: Objective extraordinary, excellent image quality and great creativity, even if limited mainly to use landscape / architectural reasons for sopraelencati.rnTramite change the plug (see forum Juza) can be mounted filter plate (eg Lee, cokin) . rnIl decentralization is free of vignetting up to 9 mm, then begins to glimpse, but practically inesistente.rnIl bascullaggio use it mainly for focusing planes with good risultati.rnInsostituibile for architecture in general, especially in the interior , great for landscaping urban and non-use mainly on a tripod, but also usable in freehand; RNA f / 8 to the best of such sharpness across the frame (FF). rnPer me, irreplaceable lens that gives great emotions , although it requires great effort to exploit its caratteristiche.rn rnrn |
  | sent on 22 Ottobre 2011 Pros: Quality 'of general image, resistance to flare and distortion correction. Center and edge sharpness. Construction Cons: Optical challenging, expensive, a bit 'bulky, obviously lacks autofocus (manual focus confirmation). Front lens is very exposed and sensitive Opinion: The TS-E 17 and 'certainly superior optical performance, along with the equally excellent TS-E 24 II. If you need a lens to take pictures in the city 'and architecture, or the views where you do not want distortion, this' your lens. It 's great for making buildings with straight lines in the city', provided that you keep the focal plane of the camera perpendicular to the ground and make tiltare the goal. The results are obviously best (by far) than those obtainable by straightening the lines PP, where, apart from the crop necessary, one must account makes a pronounced distortion and fall of sharpness in the parts straightened. For the shift, which is hard to give such effects miniature, and 'perhaps less obvious than that achievable with the 24, because of the greater depth' of field. However the limited focus allows for creative effects that really and if one 'capable (not me for now) can differentiate your photo to make it go let' say from the pack. For landscape the only real limit of this lens and 'the inability' to mount any type of filter. Even those in Lee or Cokin type plate are not allowed since the front element very convex and pronounced. So, you should expect to do multiple exposures and accattarvi the excellent filters Nik Color Efx that in the end the results are equally excellent, as long as' the exposures taken have been made wisely and that recover high and / or low lights. I also made available to the lens Juza to make a test more 'official, but unfortunately I do not live in Italy. Optical highly recommended, price furious separately. |
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