Great comparison Usman and for including that final point about the 17. Having used both for near enough 3 years now, and I think we have discussed this before, there are certain scenarios where I literally couldn't have achieved an image without it. Having said that though I would highly recommend to anyone getting either lens to invest in the 1.4 Extender (III) to go alongside it. So if you get the 17 you can still have a 24 and perhaps arguably more useful is if you get the 24 you can have a ~35 TS also. The 24 TS and the 1.4 extender is one of my most used combos for interiors and frequently gets used for exteriors and landscape images.
Yes you can shift all the way with these filters on the Canon TS-E 17mm without vignette. I use my 17mm for landscapes and love it and also obviously use filters and have no issues with it. perhaps I will do a vlog myself showing the use of these filters on the Canon TS-E 17mm tilt shift lens.
Agree! The 24mm TS is the go-to lens for Architecture. By shifting the lens horizontally or vertically you can create a coverage of 17mm without distortion.
Great review. I agree for architecture. I am a landscape photographer in mountains with Ts 17,24,90 and Laowa 15 shift macro and magic shift for sony- and I would recommend ts17 first for landscape because perspective correction is less needed for mountains at 24mm. I bought the R5 so I could get the nd drop in/ cpl drop in that enables easy filters. I watch for lens flare and hold my hand up to shade out of view lots.
2:53 THANK YOU. So many people get that wrong and do not understand what perspective is, what impacts compression, attributing it to long focal lengths. It's so triggering when so called photography professionals, photography teachers and what not get that wrong.
Hi, my understanding, as long as the sensor is vertical, you can use the 'tilt', if 'shift' doesn't go far enough. You would then have to select an aperture that keeps everything in focus.
Thanks for the comparison. For Real Estate photography, I think the wider is the better. As much as you compared 24 vs 17, If you had compared regular wide angle lens vs 17/24, then 17 would beat other two combinations for real estate photography. Like you said, if we have budget for both, then having both is perfect. On the other hand, I don't know what makes you think the lens flare on 24 was better than 17. 17 was very crisp, and I was still able to see the building texture clearly. Vs the 24 was blasting the light all through the picture.
HARIHARAN S it may come down to personal preference and you might prefer the 17. Personally the 17 is too wide for most things and with interiors it’s difficult to get compression because you have to be closer to your subject. The lens on the 17 is great but glaring is much more noticeable on the 17 look at the flaring spots because they’re difficult to edit out. Big spots of flares is what I’m getting at and no lens hood option either. The 24mm was shot without the hood but is actually much better with the hood on. Even without the hood the flare spots are significantly smaller and much easier to manage.
Hi Usman With the wider FOV lens you get what is called Volume Deformation {Anamorphosis} Example would be a object nearer the lens would appear out of proportion to the rest of the image[Larger}. There is a software called DxO Viewpoint 3 which removes this type of problem, however its a balancing act between wide angle deformation {Barrel or pincushion} or Volume Deformation. Photography is always a compromise.
fantastic video!! ive been wanting a tilt shift lens for ages now and hadn't been able to decide which one to go for, I have been speaking to the guys at canon on their live chat they were able to help me understand the full uses of tilt shift but after this video I really want that 17mm!
Just by way of conversation do you know about rotating the alignment on the older model 24, 45, and 90mm TS units? You remove the screws on the tilt block, rotate 90 degrees and reassemble? No glass is affected, just the mount, and the tilt is now oriented forward with rise/fall, best setup in general for the landscape, although focus stacking has made this somewhat less valuable. I know the new units have adjustable orientation, but a lovely 45 or 90 is only $550 on Ebay. And one last thing: while I don't own a 17, at least one manufacturer makes a filter holder specifically for it, with really big filter sets.
I own the 17mm lens and I just love it. I was picturing the mental hospital I'm in currently and it makes a fantastic job. I would recommend to at least test out the 17mm lens before you buy the 24mm as 7mm focal length in this range is a lot!
I just bought the 24mm TS and noticed in light room for the canon lens corrections there is no listing for the canon tilt shifts but every other canon lens model is there ...
I''d agree, given only one choice, one should take the less radical lens. As another consideration, you should work backward from the desired presentation format, no? The image will be cropped by layout people to fit ad or presentation space, and your on-scene fine-tuned framing, or FF aspect ratio, will be ignored. You can't tell a publication, "Don't you dare crop my art!" In that real world case the wider 17mm lens, with a big old sloppy excess on the edges, allows production house cropping. If your camera is then 50 megs, the cropped image is still very large, data-wise. It sort of kills the elegance of careful framing to go wide and huge file but it prevents production people from making you look incompetent. They will, if allowed. Know your output requirements.
John Smith that’s an interesting point I’ve found all of my images do get cropped by clients too. Having said that I would still much rather use a longer focal length to get that compression and have a higher resolution image ready to be cropped instead of an image that needs to be cropped. Make any sense? Lol Also the 17mm for many people is going to be a difficult lens to use. Even still you make an interesting point, thank you for sharing your thoughts.
The idea I wanted to offer to folks is that sometimes you will create a perfect tight shot, then be wishing later you had more image around the edges (wider) later and more megapixels (a 5DSR instead of a 5D3) instead of the perfect tight no-wasted space image because of what happens downstream. That's all, just adding to the thinking. If you frame it perfectly at FF 2/3 aspect ratio, some layout person will make it 4/5 or square without every telling you, and that lovely neon sign, or people on the sidewalk, or cloud you added on purpose at the edge will be gone.
Thank you, for a clearly understood comparison. I am eager to see and use the TS-E 17mm II. Possibly. you can give an early demonstration. Thanks again.
I guess a number of us are expecting a TS-E 17mm Mark II. In the meantime, if you are a Sony shooter you/we have the option to experiment with Venus Laowa 12mm + Shift Adapter.
The 17mm can be cropped to 24 mm and distort skew perspective control in photoshop can give you what you need .24mm isn t wide enough so 17mm for just one lens and a 24 70 zoom if you need it and post corrective perspective and photoshop this is the smart choice
With the greatest of respect your thoughts on this come across as someone who hasn't shot with these lenses regularly for professional architectural work.
@@Sondercreative your review is based on one item to purchase and do architectural photography you are informing of the best buy not for a complete architectural set up which would include the 17 mm 24mm 50mm and possibly a telephoto for advertising products
@@dionmyk no this video is strictly a comparison between two lenses to help architectural photographers decide. I don’t discuss or even attempt to discuss a full setup.
Great video and straight to the point. I've got the 24mm TS-E v2 and occasionally use it for landscapes too but usually for buildings, and then mostly exterior as 24mm is tight inside Scottish houses compared to American ones for example. And great tips about the 17mm which is just gagging to get the front element scuffed.
You could have gotten rid of the single grey chair on the bottom right to show more of the fireplace, seems a little crowded. I would have liked to see an angle shot of the room to see the difference of the one point perspective. Thanks for putting in the time to make this video.
Six Cents Media I agree about the chair however I it was there to point out perspective distortion and how furniture on the edges will look. Needed to keep it in for all the shots to show what it looks like at different distances.
Ian Robinson at IR-Photo-Tours I’m pretty sure I said it’s more difficult not that you can’t. Also you actually can’t put normal circular filters on the lens and most square filters won’t fit you need a specific type that only works on this lens.
@@Sondercreative you need to be more specific, Quote! "Also you actually can’t put normal circular filters on the lens and most square filters won’t fit you need a specific type that only works on this lens". Not true there are many filter brands you can use with is lens, ruclips.net/video/CYs3-tbZ-dA/видео.html try that :), that is just one, there are many more, give accurate info please or perhaps be more helpful, both lenses hold filters easily.
@@ironian24 I have the Haida 150 system, its really great and absolutely high quality. It is really great with ND filters. I wasn't aware that Haida made a polarizing filter for the 150mm system, too. So, thank you for pointing this, I've found this the video "Haida 6 stop NanoPro ND and Circular Polarizing Filter ( ruclips.net/video/JcNF7x5gsYs/видео.html ) from Colm Keating very interesting. Thank you again for your comment.
@@ironian24 Thak you for the invitation, I clearly remember when I had the EOS R, I used to watch all of your EOS R movies. Really great and enjoyable contents.
Very useful video. I'm an architect using a 5Ds + TS-E 24mm f3.5L II and my next purchase will be the TS-E 17mm f4L. Would be great to get your opinion on the new Canon TS-E 50mm, 90mm and 135mm for architectural photography. Thanks!
Daisuke Hirabayashi I’m trying to get hold of the new tilt shift lenses but completely out of stock here in the U.K. Soon as I get them I’ll review them :-). Thank you so much for watching.
Yes I would love to see the review of the new TS-E. I heard they all have macro ability. I just bought the 17mm TS-E and I own the 24mm TS-E for over a year now
i own the 17mm tilt shift and love it for sharpness and wide angle, if you own the 24mm tilt shift and find it a problem getting all in the frame then just do a shift or 2 as a pano. job done.
At 9:12 your point is fine, but you didn't mention a massive deal-breaker: when the TS-E 17mm is shifted to its max to get a tall building into the frame, the top section of the photo is getting so soft that it is almost unusable for buildings where the details of the top parts are important, too. For buildings like the one in your example this may not be that important, but when you are shooting cathedrals, for example, the all the details are very important up to the top of the building. Michael Breitung architecture photographer nicely explained the problem ( Photography Fail - Problems I had with the Canon TS-E 17mm Lens ruclips.net/video/tqsGqSHaEBs/видео.html ) in his usual very precise way (using Canon cameras). For interior/real estate photography where extreme shits are not needed, the TS-E 17mm is perfectly fine. This is the reason Rich Baum ( ruclips.net/video/0ft_B9Kl2HY/видео.html ), whos videos I love tremendously, too, is so much in love with the TS-E 17mm. I am quite reluctant to buy back again the $2000 TS-E 17 for projects like that. I might give a try to the $1000, not inexpensive, sure, Laowa 12mm with the $400 shift adapter to see if it can give better results. It's pity that Canon hasn't released an updated version of the TS-E 17mm (released in 2009). The Laowa 12mm zero-distortion was released in July 2016, less than three years ago. The adapter is only for shifting and not for tilting, but I could live with that.
Thanks for making the comparison! In the case of someone starting out with a crop-sensor body (myself), would you still make the same recommendation? Right now I'm still leaning toward the 24 even with the crop factor. I have the 10-22 for interiors that need to be wider, but feel the 24 would be more useful for exterior shots than the 17 would be for interior... Does that make sense?
5 лет назад
I have a suspicion that in the next few years Canon may announce a 17mm TSE II (since Nikon has come out with a 19mm PCE). This may be another reason to get the 24 first.
Great video, I'm currently considering the Samyang 24mm tilt shift for my Fuji but as it's crop sensor this means that the lens will be equivalent to a 35mm lens.
Thank you for watching Mark. 35mm is actually quite a useful focal length for interiors. Mike Kelley uses the 24mm with an extender to get a similar focal length very frequently. I use a 45mm very often too. You may need to change how you shoot and need to change things around but it's a very useful angle of view to have.
Oh really yeah? I love his work, I'm a landscape photographer (hobbyist) working as a graphic designer for a new company who do flooring and they want me to shoot their lifestyle photos for their wooden floors and composite decking. So have been researching tilt shift lenses.
@@MarkDuffyPhotography I had the Samyang/Rokinon 24mm F3.5 tilt-shift and the first copy was terribly soft, I sent it into Samyang/Rokinon and they confirmed it, so they shipped me a new copy which was better but still wasn't sharp... if you DO decide to get one, buy it from a retailer with hassle free returns/exchanges because my ordeal with Samyang/Rokinon was near 2 months down time 😒
Thank you so much for this great review and sharing your expertise. I have come to a point in my shooting where I really must invest in my first tilt-shift, so now I know that you give a strong recommendation for the 24mm.
@@raedkatbi8702 Yes, I did buy a Canon 24mm TS lens. And I LOVE IT! I probably don't use it as often as I should as most of my work is mid-priced real estate. But when I have a condo, 2-story house, or any tall building, the tilt shift is fabulous! The image quality from this lens is amazing!! Highly recommend it!
Focal length cannot impact compression. For example, the 3mm lens on your smartphone has the same compression when shot from the same distance as a 28mm lens on a full-frame camera. Focal length doesn't change compression otherwise no one would take a selfie with their phone ever again.
Good day, sir. Is it possible to mount an EF mount Tilt-Shift lens via a speedbooster (Metabones or Viltrox) to a Micro Four Thirds Camera? Thank you and regards.
Thank you,@@Sondercreative! I was scouring RUclips (and forums) but haven’t seen anyone try it. I’m thinking Olympus or Panasonic users have tried this combo but with less favorable results like massive vignetting or cropping. Anyway, best to try it on a demo lens in a store to confirm 100%
patric f thank you so much man really appreciate it. Tilt shift lenses on Sony cameras work really well for the most part. You may notice some soft corners when adapting but it’s not a big problem. I would recommend the Sigma MC11 because that adapter doesn’t soften the corners as much but still won’t be the same as using native. I adapt on occasions too.
thanks for the great video brother, once again. I have no use of TS-E as of now, but who knows, may buy one of the new 50, or 90 or 135 in future, or this 24. my friend has the 17mm and i tried it for a few minutes, was not easy to use, since it is a specialty lens, and the widest one as well, should take a while before getting used to it, much like the Nikkor 19mm
The tripod I used in this video was a travel tripod so not the sturdiest. I tend to switch back and forth between the Manfrotto 055 and the Gitzo GT5563GS, big price difference between the two though. Travel tripod in the video was the Manfrotto 190 and the Benro B1, once again these are on the lighter side, not the sturdiest.
Yeah, I tried the Canon 17mm TS on the GFX as you may remember, just way too wide! I now use the Samyang 24mm on my GFX, 19mm full frame equivalent and its a great combo.
I have the 19pc nikon and 24samyang. 24mm in architecture is like a 35mm in streetphotography. 19 like a 24. for the 19 or 17 the head of the tripod must be geared type. for building with taller recessed from the facade parts, if there is space, the only way to shoot is staying far from the building and using longer pc/ts. 45pc or similiar in canon is perfect for this. due the high quality I tend to challeng myself using the 19mm staying parallel to one of the facade. 2 point of view perspective with wide lens doesn’t work well except you want push the lines for some particoular reasons. 19 is supersharp with no distorsions. 24....nikon is sharper but only in the center and in little shifts but samyang sharpness is constant in all the frame and also with big shifts and has less distorsion in every amount of shift. so it’s easyest to fix in photoshop (less line correction) and with a little push in sharpness you can easyly match the nikon version (spending 1/3 in money and 1/2 in time in postpro)
I am what I am you know I’ve never tried the Nikon TS lenses. I think really need to give them a shot, especially the 19mm. I’d love to do a comparison against the canon versions. I agree with you about the super wide lenses. A one point perspective works the best. Thank you for watching our video, much appreciated. Check out apalmanac.com by the way. It’s an all architectural photography website.
Sonder Creative must be interesting to try the canon version also for me even if I think 17mm is more proper for ‘creative shoots’ than architecture os even worst interiors due the obvious perspective streches of the objects near the border of the frame. I hate very deep chairs or forniture in general.. sometimes if not possibile with a 24 for interiors I use a 20mm standard prime instead of the 19mm also because in interiors the floor portion or in some exterior the paving design has to be shown. wider than 19 or 17 it’s worst. in the market there are also zero distortion superwide primes (irix or laowa I don’t remember..around 15mm) but not easy to use and I think they could work only in interiors (empty minimalistic spaces)
@@Sondercreative ok. Thanks for the reply. I just watched it again and I still can’t tell when you did. Still seems like just using as straight lenses. Oh well. I’m just starting to learn about these. I may not know what I’m seeing yet.
@@morningcoffee1111 when you shift the lens it kind of needs to look straight and the same otherwise it’s not useful for architecture. If it doesn’t look straight then those distortions make the lens less useful.
Great video Osman, Thanks a lot ! I ll most likely buy the 24 mm then! but i have 2 small questions tho...what s the difference of sharpness between both of them, and what s the difference of having the 17mm and cropping the image to a 24mm to get rid of the lense bracketing and distortion ? Thanks again !
Quentin Van den Haute the 24mm is a much sharper lens both in the centre and edges. Cropping could be an option but you will lose a very noticeable amount of detail in comparison. I don’t think it’s a practical solution.
@@Sondercreative As for cropping I fully agree. In theory, if you have a brutally wide (11 - 12mm) modern, sharp rectilinear lens, and a high resolution camera, just take a picture perfectly levelled (both horizontally and vertically) and you can simply crop out the desired frame, but in this case you loose resolution, as Osman nicely explained. At the same time, the don't regard the edges of a 11 - 12mm lens perfect, they are always softer than the center, and this "shifting via cropping" trick always about the edges. The situation is even more challenging when making perspective corrected architecture 4K videos, you don't want to crop the frame to loose details. For 4K time-lapses it may be usable, though, since a 4K frame requires only 8M pixels.
I don't think you can adapt the Canon 24mm tilt-shift to the Sony SLT cameras. I also don't think Sony has ever made a tilt shift lens so far. I hope they do in the future, unfortunately, there aren't any available just yet.
Thanks, great review. I'm an aspiring amateur shooting interiors with the 17mm TS-E. Would love to send you a couple shots for your critique if you'd be up for it. Thanks.
Very good and clear explanations, helped me a lot, thanks for posting. That focus on the recording camera should be locked off though, distracting constant shifts between the subject and background.
Hey thank you for the comment really appreciate it. The head I’m using is a relatively cheap ball head from Benro. I think it’s the B2 is I’m not mistaken.
Hey Usman, this is off topic (way) but I was hoping you could help me. It's something that has been driving me absolutely nuts because everyone I can see in the main stream is making the same, you could call it, "mistake". Everyone does color science comparisons in Lightroom, which in it's self is.. flawed. Because adobe now has their own color science in the mix, they have there own profiles for cameras and raw files, and you can manipulate it only so much. The instance I am referring to is how adobe profiles Sony images. With a greenish yellow cast, always. Which is not how it appears on the camera, or the jpeg. Yet, all I see is everyone using this "faulty" measuring stick (not that Lr is bad). If you open them in say Capture One, poof! What strange color?? So I was wondering if you could help me show this to people because it is so very very dramatic, and I can't see it ANYWHERE! I really appreciate the videos you post and respect you for how you maintain a very clear unbiased opinion, using only technical facts and reasons behind your reviews. That is why I felt this was perfect for you, please let me know what you think -Kyle
Kyle Svecz aw man way too kind in what you said thank you so much. It sounds interesting so sure I’ll give it a go. I do agree about raw processors having an impact on colour however what are your thoughts on Sony colour for video?
Sonder Creative I have not yet tested that, but it would be curious to see as it is not a flexible as Raw, I will test it at work tomorrow. I really appreciate you taking the time to reply to me, thank you. I wish I could post some pictures here so I can show you what I mean lol
I got both of the lenses used and saved so much money. I think I essentially got them both for the price of the 24mm. I'm still getting comfortable with them but man they make a huge difference. I def want the 135mm tilty now too.
Entirely depends on what you shoot. If you shoot architecture as your main type of work then I would say get the Canon TSE if you shoot landscapes and some architecture and some other stuff too then I'd get the 23mm. Ideally both but I can appreciate they aren't cheap.
@@Sondercreative Thank you so much for your reply. indeed I do mostly urban photography I just wondering how the 24mm TS is performing for corners on GFX. I had the 23mm and it was corner to corner sharp. Now I want to either buy the 23mm again or the 24mm TS. I don't need the AF. I would be very grateful if you could comment on sharpness when it shift the 24mm on corners.
Thanks Osman for this Video - im on a budget and i wil l buy 24 mm but here is the questiion - (i cant now buy new canon 24) - should i buy samyang 24 mm or looking for used canon 24?
Usedom 360 I’d buy a second hand canon mark II it’s significantly better and you won’t be regretting the purchase afterwards. Thank you for the comment I’m glad you found this video helpful.
Isn't the point of having a lens with a tilt & shift function to shift the lens for the composition that you need? - In the house, you spoke about the doorway wall as an obstacle; well then SHIFT it. It seems like you avoided the opportunity to advise on how to be a photographer when using the equipment. - The building in NY (which is hardly one of the tallest bldgs in the city) simply required a taller tripod or another way to hold the camera higher off of the ground. The bldg, when captured with the 17mm, is terribly distorted at the top of the building because it's at the outer edge of the lens. It sounds like you're taking about how to compose an image and the difference between focal lengths in a manner that isn't significantly specific to the reason you've deleted these two lenses.
So both lenses have the ability to shift, so it’s not a unique feature for any of the two. The differentiating factor was the focal length which is what I was demonstrating most. Had I have gone into the shifts and such at that point I would have been fiddling with far too many variables to keep things simple. Also, the perspective change you have from needing to shoot further away from the subject can’t be gained by shifting the lens. Finally, there are plenty of ways to get a taller building in frame, once again I’m simply comparing two focal lengths with shift., for the same type of shot instead of getting bogged down by a 100 other variables.
@@Sondercreative Your channel and your market. You know your audience. I just don't understand why one would even do that with a T/S pair when the exact same physical phenomenon happens with all lenses. In those times as well, the USE of the lens is where the utility is. None of them do anything on their own. I think there is opportunity to give real education about the person that makes the images instead of just talking about such a basic level of gear.
storysupport The main reason is because this channel is mostly about gear. I write more about the business side of things and techniques in articles for APALMANAC, however this channel focuses on gear.
@@Sondercreative Understood. I can appreciate the need to focus your content. Thanks for your engagement. I'll end with a closing statement: When I think "gear", it's actual use isn't something that can be separated from the device itself. When I receive it, information about gear is all but neutralized when the gear isn't used correctly or per it's design intent.
Amitabh Sharma get the 24mm if you can only buy one for now. Get the 17mm later. If you need a wider angle of view you can always stitch images with the 24mm
My thoughts are focal length does affect 'Compression' . I think you got this wrong in the video. ...And yes the wide-angle of 17 will look unnatural and stretch objects out. Thanks for the comparison, nice to see your images in lightroom, that part was helpful.
Focal length cannot affect compression it's not possible. This is why a 3mm lens on your smartphone has the same compression as a 28mm lens on a full-frame camera. It's literally impossible to change compression with focal length. Compression is ONLY affected by how close you are to your subject or far away you are from your subject. Your eyes compress what you see as well depending on how far or close something is to you.
I really don't understand these photo and video pros telling us about cameras and lenses and all that shit, then posting a video with the focus going crazy as f**k, this is so hard to watch...
Sorry Sonder Creative, I apologize. I did not want to come across as mean, the video has very valuable information, and I think it's going to be very useful for me. I now read again the comment and it's too much, sometimes I am a drama queen.
Great comparison Usman and for including that final point about the 17. Having used both for near enough 3 years now, and I think we have discussed this before, there are certain scenarios where I literally couldn't have achieved an image without it. Having said that though I would highly recommend to anyone getting either lens to invest in the 1.4 Extender (III) to go alongside it. So if you get the 17 you can still have a 24 and perhaps arguably more useful is if you get the 24 you can have a ~35 TS also. The 24 TS and the 1.4 extender is one of my most used combos for interiors and frequently gets used for exteriors and landscape images.
Rob Crawshaw. Thanks for the post. I have the 17mm and will get the 1.4 extender.
@Gus Erland BOTH lenses are tilt shift, and they both do it in the exact same way, there's no comparison to be made there.
@Gus Erland Tbf tech specs like that can easily be looked up on Canon's website.
Yes you can shift all the way with these filters on the Canon TS-E 17mm without vignette. I use my 17mm for landscapes and love it and also obviously use filters and have no issues with it. perhaps I will do a vlog myself showing the use of these filters on the Canon TS-E 17mm tilt shift lens.
Agree! The 24mm TS is the go-to lens for Architecture. By shifting the lens horizontally or vertically you can create a coverage of 17mm without distortion.
Great review. I agree for architecture. I am a landscape photographer in mountains with Ts 17,24,90 and Laowa 15 shift macro and magic shift for sony- and I would recommend ts17 first for landscape because perspective correction is less needed for mountains at 24mm. I bought the R5 so I could get the nd drop in/ cpl drop in that enables easy filters. I watch for lens flare and hold my hand up to shade out of view lots.
Canon 17mm Tilt-Shift - bhpho.to/2CdVqWa
Canon 24mm Tilt-Shift - bhpho.to/2BAof0c
Canon 5DSR - bhpho.to/2fXcaM2
shift and stitch with the 24mm. Gets you wider framing of interiors. but yes sometimes, still too tight of a space
2:53 THANK YOU. So many people get that wrong and do not understand what perspective is, what impacts compression, attributing it to long focal lengths. It's so triggering when so called photography professionals, photography teachers and what not get that wrong.
Hi, my understanding, as long as the sensor is vertical, you can use the 'tilt', if 'shift' doesn't go far enough. You would then have to select an aperture that keeps everything in focus.
Thanks for the comparison. For Real Estate photography, I think the wider is the better. As much as you compared 24 vs 17, If you had compared regular wide angle lens vs 17/24, then 17 would beat other two combinations for real estate photography. Like you said, if we have budget for both, then having both is perfect. On the other hand, I don't know what makes you think the lens flare on 24 was better than 17. 17 was very crisp, and I was still able to see the building texture clearly. Vs the 24 was blasting the light all through the picture.
HARIHARAN S it may come down to personal preference and you might prefer the 17. Personally the 17 is too wide for most things and with interiors it’s difficult to get compression because you have to be closer to your subject.
The lens on the 17 is great but glaring is much more noticeable on the 17 look at the flaring spots because they’re difficult to edit out. Big spots of flares is what I’m getting at and no lens hood option either. The 24mm was shot without the hood but is actually much better with the hood on. Even without the hood the flare spots are significantly smaller and much easier to manage.
Probably the best lens comparison I have ever watched. Well done.
Hi Usman With the wider FOV lens you get what is called Volume Deformation {Anamorphosis} Example would be a object nearer the lens would appear out of proportion to the rest of the image[Larger}. There is a software called DxO Viewpoint 3 which removes this type of problem, however its a balancing act between wide angle deformation {Barrel or pincushion} or Volume Deformation. Photography is always a compromise.
Something I think you'll like with composition is to angle down a little to show less ceiling for interiors. Give it a shot and thanks for the video!
This is exactly what I was looking for! Great explanation, you've made a really useful video, thank you.
fantastic video!! ive been wanting a tilt shift lens for ages now and hadn't been able to decide which one to go for, I have been speaking to the guys at canon on their live chat they were able to help me understand the full uses of tilt shift but after this video I really want that 17mm!
I'm very happy to know my video came in handy :). Thank you very much for watching.
is the crooked line at the top middle part of the ceiling distortion from the lens?
Which should I buy, TS-E 24mm or 17mm?
I'm very happy that the last recommendation made this question clear.
If it’s your first tilt shift lens then id recommend the 24mm :).
Really good information. You made my decision easier as to which lens to purchase.
Just by way of conversation do you know about rotating the alignment on the older model 24, 45, and 90mm TS units? You remove the screws on the tilt block, rotate 90 degrees and reassemble? No glass is affected, just the mount, and the tilt is now oriented forward with rise/fall, best setup in general for the landscape, although focus stacking has made this somewhat less valuable. I know the new units have adjustable orientation, but a lovely 45 or 90 is only $550 on Ebay. And one last thing: while I don't own a 17, at least one manufacturer makes a filter holder specifically for it, with really big filter sets.
I own the 17mm lens and I just love it. I was picturing the mental hospital I'm in currently and it makes a fantastic job. I would recommend to at least test out the 17mm lens before you buy the 24mm as 7mm focal length in this range is a lot!
Thank you very much for your insights. I found them very usefull. All the best!
I just bought the 24mm TS and noticed in light room for the canon lens corrections there is no listing for the canon tilt shifts but every other canon lens model is there ...
Thank you very much for this comparison. I was already a long time in doubt which one to buy. Now I know.
Buy both of course!
I''d agree, given only one choice, one should take the less radical lens. As another consideration, you should work backward from the desired presentation format, no?
The image will be cropped by layout people to fit ad or presentation space, and your on-scene fine-tuned framing, or FF aspect ratio, will be ignored. You can't tell a publication, "Don't you dare crop my art!"
In that real world case the wider 17mm lens, with a big old sloppy excess on the edges, allows production house cropping. If your camera is then 50 megs, the cropped image is still very large, data-wise.
It sort of kills the elegance of careful framing to go wide and huge file but it prevents production people from making you look incompetent. They will, if allowed. Know your output requirements.
John Smith that’s an interesting point I’ve found all of my images do get cropped by clients too. Having said that I would still much rather use a longer focal length to get that compression and have a higher resolution image ready to be cropped instead of an image that needs to be cropped. Make any sense? Lol
Also the 17mm for many people is going to be a difficult lens to use.
Even still you make an interesting point, thank you for sharing your thoughts.
The idea I wanted to offer to folks is that sometimes you will create a perfect tight shot, then be wishing later you had more image around the edges (wider) later and more megapixels (a 5DSR instead of a 5D3) instead of the perfect tight no-wasted space image because of what happens downstream. That's all, just adding to the thinking.
If you frame it perfectly at FF 2/3 aspect ratio, some layout person will make it 4/5 or square without every telling you, and that lovely neon sign, or people on the sidewalk, or cloud you added on purpose at the edge will be gone.
Thank you, for a clearly understood comparison. I am eager to see and use the TS-E 17mm II. Possibly. you can give an early demonstration. Thanks again.
Thank you so much for watching, really appreciate it.
I guess a number of us are expecting a TS-E 17mm Mark II. In the meantime, if you are a Sony shooter you/we have the option to experiment with Venus Laowa 12mm + Shift Adapter.
This is the the video I was looking for. You answered my question at 10:35 thanks very much!
The 17mm can be cropped to 24 mm and distort skew perspective control in photoshop can give you what you need .24mm isn t wide enough so 17mm for just one lens and a 24 70 zoom if you need it and post corrective perspective and photoshop this is the smart choice
With the greatest of respect your thoughts on this come across as someone who hasn't shot with these lenses regularly for professional architectural work.
@@Sondercreative If your a hard boiled photographer you can make it happen pal.
@@dionmyk Ok now Im certain you don’t know what you’re talking about.
@@Sondercreative your review is based on one item to purchase and do architectural photography you are informing of the best buy not for a complete architectural set up which would include the 17 mm 24mm 50mm and possibly a telephoto for advertising products
@@dionmyk no this video is strictly a comparison between two lenses to help architectural photographers decide. I don’t discuss or even attempt to discuss a full setup.
Great video and straight to the point. I've got the 24mm TS-E v2 and occasionally use it for landscapes too but usually for buildings, and then mostly exterior as 24mm is tight inside Scottish houses compared to American ones for example. And great tips about the 17mm which is just gagging to get the front element scuffed.
You could have gotten rid of the single grey chair on the bottom right to show more of the fireplace, seems a little crowded. I would have liked to see an angle shot of the room to see the difference of the one point perspective. Thanks for putting in the time to make this video.
Six Cents Media I agree about the chair however I it was there to point out perspective distortion and how furniture on the edges will look. Needed to keep it in for all the shots to show what it looks like at different distances.
Thank you, just the comparison I need. 24mm it is then.
I use the canon 17mm tilt shift and i use filter on it so not true that you cannot.
Ian Robinson at IR-Photo-Tours I’m pretty sure I said it’s more difficult not that you can’t. Also you actually can’t put normal circular filters on the lens and most square filters won’t fit you need a specific type that only works on this lens.
@@Sondercreative you need to be more specific, Quote! "Also you actually can’t put normal circular filters on the lens and most square filters won’t fit you need a specific type that only works on this lens".
Not true there are many filter brands you can use with is lens, ruclips.net/video/CYs3-tbZ-dA/видео.html try that :), that is just one, there are many more, give accurate info please or perhaps be more helpful, both lenses hold filters easily.
@@ironian24 I have the Haida 150 system, its really great and absolutely high quality. It is really great with ND filters. I wasn't aware that Haida made a polarizing filter for the 150mm system, too. So, thank you for pointing this, I've found this the video "Haida 6 stop NanoPro ND and Circular Polarizing Filter ( ruclips.net/video/JcNF7x5gsYs/видео.html ) from Colm Keating very interesting. Thank you again for your comment.
@@miklosnemeth8566 give my channel a look too, it covers many aspects of photography from a proffessionals point of view
@@ironian24 Thak you for the invitation, I clearly remember when I had the EOS R, I used to watch all of your EOS R movies. Really great and enjoyable contents.
Great explanation of the 2 lenses - thank you!
Very useful video. I'm an architect using a 5Ds + TS-E 24mm f3.5L II and my next purchase will be the TS-E 17mm f4L. Would be great to get your opinion on the new Canon TS-E 50mm, 90mm and 135mm for architectural photography. Thanks!
Daisuke Hirabayashi I’m trying to get hold of the new tilt shift lenses but completely out of stock here in the U.K. Soon as I get them I’ll review them :-).
Thank you so much for watching.
Yes I would love to see the review of the new TS-E. I heard they all have macro ability. I just bought the 17mm TS-E and I own the 24mm TS-E for over a year now
i own the 17mm tilt shift and love it for sharpness and wide angle, if you own the 24mm tilt shift and find it a problem getting all in the frame then just do a shift or 2 as a pano. job done.
At 9:12 your point is fine, but you didn't mention a massive deal-breaker: when the TS-E 17mm is shifted to its max to get a tall building into the frame, the top section of the photo is getting so soft that it is almost unusable for buildings where the details of the top parts are important, too. For buildings like the one in your example this may not be that important, but when you are shooting cathedrals, for example, the all the details are very important up to the top of the building.
Michael Breitung architecture photographer nicely explained the problem ( Photography Fail - Problems I had with the Canon TS-E 17mm Lens ruclips.net/video/tqsGqSHaEBs/видео.html ) in his usual very precise way (using Canon cameras).
For interior/real estate photography where extreme shits are not needed, the TS-E 17mm is perfectly fine. This is the reason Rich Baum ( ruclips.net/video/0ft_B9Kl2HY/видео.html ), whos videos I love tremendously, too, is so much in love with the TS-E 17mm.
I am quite reluctant to buy back again the $2000 TS-E 17 for projects like that. I might give a try to the $1000, not inexpensive, sure, Laowa 12mm with the $400 shift adapter to see if it can give better results. It's pity that Canon hasn't released an updated version of the TS-E 17mm (released in 2009). The Laowa 12mm zero-distortion was released in July 2016, less than three years ago. The adapter is only for shifting and not for tilting, but I could live with that.
rogeti.com/products/tse-frame this could be an answer to your problem with outer edge softness,
Thank you Sonder, I learnt much about getting my buildings photographed.
cluxseltoot that’s so good of you to say thank you so much for watching.
Thanks for making the comparison! In the case of someone starting out with a crop-sensor body (myself), would you still make the same recommendation? Right now I'm still leaning toward the 24 even with the crop factor. I have the 10-22 for interiors that need to be wider, but feel the 24 would be more useful for exterior shots than the 17 would be for interior... Does that make sense?
I have a suspicion that in the next few years Canon may announce a 17mm TSE II (since Nikon has come out with a 19mm PCE). This may be another reason to get the 24 first.
Great video, I'm currently considering the Samyang 24mm tilt shift for my Fuji but as it's crop sensor this means that the lens will be equivalent to a 35mm lens.
Thank you for watching Mark. 35mm is actually quite a useful focal length for interiors. Mike Kelley uses the 24mm with an extender to get a similar focal length very frequently. I use a 45mm very often too. You may need to change how you shoot and need to change things around but it's a very useful angle of view to have.
Oh really yeah? I love his work, I'm a landscape photographer (hobbyist) working as a graphic designer for a new company who do flooring and they want me to shoot their lifestyle photos for their wooden floors and composite decking. So have been researching tilt shift lenses.
@@MarkDuffyPhotography I had the Samyang/Rokinon 24mm F3.5 tilt-shift and the first copy was terribly soft, I sent it into Samyang/Rokinon and they confirmed it, so they shipped me a new copy which was better but still wasn't sharp... if you DO decide to get one, buy it from a retailer with hassle free returns/exchanges because my ordeal with Samyang/Rokinon was near 2 months down time 😒
Thank you so much for this great review and sharing your expertise. I have come to a point in my shooting where I really must invest in my first tilt-shift, so now I know that you give a strong recommendation for the 24mm.
Hi, did you go with this option? Do you recommend purchasing after 2 years
@@raedkatbi8702 Yes, I did buy a Canon 24mm TS lens. And I LOVE IT! I probably don't use it as often as I should as most of my work is mid-priced real estate. But when I have a condo, 2-story house, or any tall building, the tilt shift is fabulous! The image quality from this lens is amazing!! Highly recommend it!
Thanks for explaining the difference. It is very useful to me
Thank you for watching. I’m glad you found it useful.
Thank you Osman for this useful video. Why do not you make a trial video for using the 24 TS in little more depth?
really great video! thanks for your work.
perspective does not change but compression does with focal length, long telephotos compress severely
Focal length cannot impact compression. For example, the 3mm lens on your smartphone has the same compression when shot from the same distance as a 28mm lens on a full-frame camera.
Focal length doesn't change compression otherwise no one would take a selfie with their phone ever again.
Good day, sir. Is it possible to mount an EF mount Tilt-Shift lens via a speedbooster (Metabones or Viltrox) to a Micro Four Thirds Camera? Thank you and regards.
I can’t think of any reason as to why you can’t. It should work fine although you may be putting a lot of weight on the mount so I’d be careful.
Thank you,@@Sondercreative! I was scouring RUclips (and forums) but haven’t seen anyone try it. I’m thinking Olympus or Panasonic users have tried this combo but with less favorable results like massive vignetting or cropping. Anyway, best to try it on a demo lens in a store to confirm 100%
very helpful video Osman. You always rock!! Whats your thoughts about using canon tilt-shifts on sony a7rIII with metabone adapter?
patric f thank you so much man really appreciate it. Tilt shift lenses on Sony cameras work really well for the most part. You may notice some soft corners when adapting but it’s not a big problem. I would recommend the Sigma MC11 because that adapter doesn’t soften the corners as much but still won’t be the same as using native.
I adapt on occasions too.
thanks for the great video brother, once again. I have no use of TS-E as of now, but who knows, may buy one of the new 50, or 90 or 135 in future, or this 24.
my friend has the 17mm and i tried it for a few minutes, was not easy to use, since it is a specialty lens, and the widest one as well, should take a while before getting used to it, much like the Nikkor 19mm
Great video! What tripod and head do you use? I want to get something heavier and sturdier but not overkill.
The tripod I used in this video was a travel tripod so not the sturdiest. I tend to switch back and forth between the Manfrotto 055 and the Gitzo GT5563GS, big price difference between the two though.
Travel tripod in the video was the Manfrotto 190 and the Benro B1, once again these are on the lighter side, not the sturdiest.
Useful & crisp info. Thanks!
Nice video Usman. I would recommend getting the 24mm and using a medium format camera to get the benefit similar to the 17mm :)
Adrian Photovisions thank you for watching much appreciated.
24mm on medium is a little magic I’m gonna be exploring that in my next video :-).
Yeah, I tried the Canon 17mm TS on the GFX as you may remember, just way too wide! I now use the Samyang 24mm on my GFX, 19mm full frame equivalent and its a great combo.
On a Phaseone the 28mm lens = 17mm in DSLR terms where no crop factor applies.
I have the 19pc nikon and 24samyang. 24mm in architecture is like a 35mm in streetphotography. 19 like a 24. for the 19 or 17 the head of the tripod must be geared type. for building with taller recessed from the facade parts, if there is space, the only way to shoot is staying far from the building and using longer pc/ts. 45pc or similiar in canon is perfect for this. due the high quality I tend to challeng myself using the 19mm staying parallel to one of the facade. 2 point of view perspective with wide lens doesn’t work well except you want push the lines for some particoular reasons. 19 is supersharp with no distorsions. 24....nikon is sharper but only in the center and in little shifts but samyang sharpness is constant in all the frame and also with big shifts and has less distorsion in every amount of shift. so it’s easyest to fix in photoshop (less line correction) and with a little push in sharpness you can easyly match the nikon version (spending 1/3 in money and 1/2 in time in postpro)
I am what I am you know I’ve never tried the Nikon TS lenses. I think really need to give them a shot, especially the 19mm.
I’d love to do a comparison against the canon versions.
I agree with you about the super wide lenses. A one point perspective works the best. Thank you for watching our video, much appreciated.
Check out apalmanac.com by the way. It’s an all architectural photography website.
Sonder Creative must be interesting to try the canon version also for me even if I think 17mm is more proper for ‘creative shoots’ than architecture os even worst interiors due the obvious perspective streches of the objects near the border of the frame. I hate very deep chairs or forniture in general.. sometimes if not possibile with a 24 for interiors I use a 20mm standard prime instead of the 19mm also because in interiors the floor portion or in some exterior the paving design has to be shown. wider than 19 or 17 it’s worst. in the market there are also zero distortion superwide primes (irix or laowa I don’t remember..around 15mm) but not easy to use and I think they could work only in interiors (empty minimalistic spaces)
Did I miss it? Did you tilt or shift the lens at all? It seemed like you simply used them as regular wide lenses.
Definitely shifted the lenses on several occasions.
@@Sondercreative ok. Thanks for the reply. I just watched it again and I still can’t tell when you did. Still seems like just using as straight lenses. Oh well. I’m just starting to learn about these. I may not know what I’m seeing yet.
@@morningcoffee1111 when you shift the lens it kind of needs to look straight and the same otherwise it’s not useful for architecture. If it doesn’t look straight then those distortions make the lens less useful.
Great video Osman, Thanks a lot ! I ll most likely buy the 24 mm then! but i have 2 small questions tho...what s the difference of sharpness between both of them, and what s the difference of having the 17mm and cropping the image to a 24mm to get rid of the lense bracketing and distortion ?
Thanks again !
Quentin Van den Haute the 24mm is a much sharper lens both in the centre and edges. Cropping could be an option but you will lose a very noticeable amount of detail in comparison. I don’t think it’s a practical solution.
@@Sondercreative As for cropping I fully agree. In theory, if you have a brutally wide (11 - 12mm) modern, sharp rectilinear lens, and a high resolution camera, just take a picture perfectly levelled (both horizontally and vertically) and you can simply crop out the desired frame, but in this case you loose resolution, as Osman nicely explained. At the same time, the don't regard the edges of a 11 - 12mm lens perfect, they are always softer than the center, and this "shifting via cropping" trick always about the edges.
The situation is even more challenging when making perspective corrected architecture 4K videos, you don't want to crop the frame to loose details. For 4K time-lapses it may be usable, though, since a 4K frame requires only 8M pixels.
Dear sir.
Thank you for ur advise and I’m looking for the 24mm tilt shift lens for my Sony a99 ?,
I don't think you can adapt the Canon 24mm tilt-shift to the Sony SLT cameras. I also don't think Sony has ever made a tilt shift lens so far. I hope they do in the future, unfortunately, there aren't any available just yet.
Thanks, great review. I'm an aspiring amateur shooting interiors with the 17mm TS-E. Would love to send you a couple shots for your critique if you'd be up for it. Thanks.
Very good and clear explanations, helped me a lot, thanks for posting.
That focus on the recording camera should be locked off though, distracting constant shifts between the subject and background.
Yes sorry about the focus issues. I was shooting by myself in NY so couldn’t check everything lol.
Great video - very informative and useful. :)
Brilliant Video thanks very much
What head are you using here mate? Great video btw! Going to get the 24mm I think.
Hey thank you for the comment really appreciate it. The head I’m using is a relatively cheap ball head from Benro. I think it’s the B2 is I’m not mistaken.
Hey Usman, this is off topic (way) but I was hoping you could help me. It's something that has been driving me absolutely nuts because everyone I can see in the main stream is making the same, you could call it, "mistake". Everyone does color science comparisons in Lightroom, which in it's self is.. flawed. Because adobe now has their own color science in the mix, they have there own profiles for cameras and raw files, and you can manipulate it only so much. The instance I am referring to is how adobe profiles Sony images. With a greenish yellow cast, always. Which is not how it appears on the camera, or the jpeg. Yet, all I see is everyone using this "faulty" measuring stick (not that Lr is bad). If you open them in say Capture One, poof! What strange color?? So I was wondering if you could help me show this to people because it is so very very dramatic, and I can't see it ANYWHERE! I really appreciate the videos you post and respect you for how you maintain a very clear unbiased opinion, using only technical facts and reasons behind your reviews. That is why I felt this was perfect for you, please let me know what you think
-Kyle
Kyle Svecz aw man way too kind in what you said thank you so much. It sounds interesting so sure I’ll give it a go. I do agree about raw processors having an impact on colour however what are your thoughts on Sony colour for video?
Sonder Creative I have not yet tested that, but it would be curious to see as it is not a flexible as Raw, I will test it at work tomorrow. I really appreciate you taking the time to reply to me, thank you. I wish I could post some pictures here so I can show you what I mean lol
Find me on facebook we can share images/footage :)
I got both of the lenses used and saved so much money. I think I essentially got them both for the price of the 24mm. I'm still getting comfortable with them but man they make a huge difference. I def want the 135mm tilty now too.
Dear Usman, could you please tell me if you prefer GF 23 or TS24mm?
Entirely depends on what you shoot. If you shoot architecture as your main type of work then I would say get the Canon TSE if you shoot landscapes and some architecture and some other stuff too then I'd get the 23mm.
Ideally both but I can appreciate they aren't cheap.
@@Sondercreative Thank you so much for your reply. indeed I do mostly urban photography I just wondering how the 24mm TS is performing for corners on GFX. I had the 23mm and it was corner to corner sharp. Now I want to either buy the 23mm again or the 24mm TS. I don't need the AF. I would be very grateful if you could comment on sharpness when it shift the 24mm on corners.
You are really good and thank you.
Newly discovered your channel... Subscribed ❤
That’s brilliant thank you so much :).
Thanks for sharing this!
lens Tilt Shift shoot Tilt Shift style man!
Good comparison video
Thanks Osman for this Video - im on a budget and i wil l buy 24 mm but here is the questiion - (i cant now buy new canon 24) - should i buy samyang 24 mm or looking for used canon 24?
Usedom 360 I’d buy a second hand canon mark II it’s significantly better and you won’t be regretting the purchase afterwards.
Thank you for the comment I’m glad you found this video helpful.
it's big diffrent beetwen 24 Mark I and Mark II ?
Usedom 360 big difference it’s worth the money.
Thanks!
I can get 'em both, I don't wanna chose...
I’m glad you don’t have to choose it’s a great position to be in.
Isn't the point of having a lens with a tilt & shift function to shift the lens for the composition that you need?
- In the house, you spoke about the doorway wall as an obstacle; well then SHIFT it.
It seems like you avoided the opportunity to advise on how to be a photographer when using the equipment.
- The building in NY (which is hardly one of the tallest bldgs in the city) simply required a taller tripod or another way to hold the camera higher off of the ground. The bldg, when captured with the 17mm, is terribly distorted at the top of the building because it's at the outer edge of the lens.
It sounds like you're taking about how to compose an image and the difference between focal lengths in a manner that isn't significantly specific to the reason you've deleted these two lenses.
So both lenses have the ability to shift, so it’s not a unique feature for any of the two. The differentiating factor was the focal length which is what I was demonstrating most.
Had I have gone into the shifts and such at that point I would have been fiddling with far too many variables to keep things simple.
Also, the perspective change you have from needing to shoot further away from the subject can’t be gained by shifting the lens.
Finally, there are plenty of ways to get a taller building in frame, once again I’m simply comparing two focal lengths with shift., for the same type of shot instead of getting bogged down by a 100 other variables.
@@Sondercreative
Your channel and your market. You know your audience.
I just don't understand why one would even do that with a T/S pair when the exact same physical phenomenon happens with all lenses. In those times as well, the USE of the lens is where the utility is. None of them do anything on their own.
I think there is opportunity to give real education about the person that makes the images instead of just talking about such a basic level of gear.
storysupport The main reason is because this channel is mostly about gear. I write more about the business side of things and techniques in articles for APALMANAC, however this channel focuses on gear.
@@Sondercreative Understood. I can appreciate the need to focus your content.
Thanks for your engagement.
I'll end with a closing statement:
When I think "gear", it's actual use isn't something that can be separated from the device itself. When I receive it, information about gear is all but neutralized when the gear isn't used correctly or per it's design intent.
Excellent Video....but I am still confused which one to go for :) I cannot buy both.....I do lots of Architecture and Interior work :)
Amitabh Sharma get the 24mm if you can only buy one for now. Get the 17mm later. If you need a wider angle of view you can always stitch images with the 24mm
@@Sondercreative Just stitch images together for wider/taller view . . . . now why didn't I think of that? !
Thank you. Subscribed.
mhs vz really appreciate that thank you so much :-)
ty very good review
My thoughts are focal length does affect 'Compression' . I think you got this wrong in the video. ...And yes the wide-angle of 17 will look unnatural and stretch objects out. Thanks for the comparison, nice to see your images in lightroom, that part was helpful.
Focal length cannot affect compression it's not possible.
This is why a 3mm lens on your smartphone has the same compression as a 28mm lens on a full-frame camera.
It's literally impossible to change compression with focal length. Compression is ONLY affected by how close you are to your subject or far away you are from your subject.
Your eyes compress what you see as well depending on how far or close something is to you.
Thanks a lot!
nice informative and it's a real deal review, I go for 24 mil
arist8989 thank you for watching really appreciate it.
that video is really useful.
17mm f, better for building.
Depends.
@@Sondercreative I need 94° angle vision almost for perpectives...
Liked and Subscribed!
Awesome thank you :-)
both :)
Always use the lens hood. This one works great. Use inside and out for glare control etc...www.adorama.com/fd145ecpca17.html
1:45 17mm
2:33 24mm
3:48 Comparison in Lightroom
6:15 Building comparison
7:46 Lightroom
9:23 Usability
jumpmarks.in/youtube/QLwen95qO58
you really need to turn of your AF for video, looks super unprofessional
ths
I really don't understand these photo and video pros telling us about cameras and lenses and all that shit, then posting a video with the focus going crazy as f**k, this is so hard to watch...
alby L one of the issues of filming with Sony I guess. Also don’t be such a drama queen the focusing issues were minor at best.
Sorry Sonder Creative, I apologize. I did not want to come across as mean, the video has very valuable information, and I think it's going to be very useful for me. I now read again the comment and it's too much, sometimes I am a drama queen.
Mil ? Millimeter = 1/1000 part of a meter.
Are you in a hurry, talking so fast.
You know what it means lol, don't be pedantic.