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Web Code: 010CAN105  •  Mfr Code: 3552B002
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CANON TS-E 24MM F3.5L II TILT-SHIFT LENS is rated 4.7 out of 5 by 13.
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Product Highlights
  • Tilt-Shift Lens
  • Circular Aperture
  • Ultra Dispersion Glass
Read More
  • Tilt-Shift Lens
  • Circular Aperture
  • Ultra Dispersion Glass
  • Filter Diameter: 82mm
  • Lens Construction - 16 elements in 11 groups
  • Closest Focusing Distance - 0.69 ft./0.21m Mxaximum Close-up Magnification: 0.34x
  • Focus Adjustment - Manual focus, rear focusing system (no floating system)
  • Designed with UD glass to minimize and compensate for chromatic aberrations and a specially coated aspherical element for the highest possible glare-free image quality
  • Angle of view of 84 degrees on a full-frame camera
  • TS rotation lets users freely combine tilting and shifting within the range of +/- 90 degrees in the direction of movement
  • Tilt function has an enhanced range of movement of up to +/- 8.5 degrees
  • Revolving construction for both portrait and landscape shooting modes
  • Ergonomically-designed and easily operated tilt and shift locking knobs
  • Circular aperture for beautiful out-of-focus areas
  • Constructed using only lead-free glass
  • SWC lens coating that controls ghosting and flare to a far greater degree than earlier coating technologies
  • Focal Length & Maximum Aperture - 24mm 1:3.5
  • Diagonal Angle of View - 84 degrees (without tilt or shift), Image circle diameter 67.2mm
  • Max. Diameter x Length - 3.5 x 4.2 in./88.5 x 106.9mm
  • Weight - 27.5 oz./780g

Lens Performance

Lens Type: Digital SLR Lenses
Focal Length: 24mm
Maximum Aperture: f/3.5
Aperture (Max. & Min.): Max: f/3.5, Min: f/22
Camera Mount Type: Canon EF
Camera Format: Full-Frame
Angle of View: 84 degrees
Minimum Focus Distance: 0.21m
Maximum Close-Up Magnification: 0.34x
Groups/Elements: 11 Groups/16 Elements
Diaphragm Blades: 8

Lens Features

Image Stabilization: No
Autofocus: No
Tripod Collar: No


Filter Thread: 82mm
Dimensions (DxL): 3.5x4.2"
Weight: 780g

Additional Information

Warranty: 1 year manufacturer warranty
Rated 5 out of 5 by from get to the higher planes I was first a bit skeptical, but after being out in the field and getting used to the endless possibilities of tilting and shifting the focus plane I can't do without it. Landscape and architecture get a new meaning, but also portraits/wedding can get that nice addition if you use the TS intelligently. Perfectly sharp (sharper than the corresponding prime, IMHO) the superiority is easily visible on my 5D mkii. Not having an auto focus (no, I am not complaining), I would suggest also to add a manual diaphragm control for quicker control.
Date published: 2009-10-20
Rated 5 out of 5 by from Expensive but soooo worht it I agree - it is not your everyday lens, not even your every week lens. To be honest, if you do not have a need for it will quickly become your once-in-a-quite-long-long-while lens. Then you may feel disappointed, but it will not be because the product is not good, it will be because you didn't bother to think whether you really need it when buying it. It is also a demanding lens to use - you most probably will use a tripod (unless you have super steady hands), be patient, and take some time to learn how to use it. Btw - architectural and landscape photography, where this lens finds most applications will require a tripod and some patience (when composing) in most cases anyway. However, when you do need features of this lens and take time to learn how to shoot with it - nothing comes close to quality you will receive. If anybody claims that he/she can do the same with regular lens and some post processing while retaining the same quality, he/she either never really used this lens or doesn't really needed such lens and doesn't want to spare time to learn how to use it. If a bit of PS magic would give you the same effects / quality no one would buy TS lenses any more and manufacturers would stop producing them. Somehow, Canon not only has not stopped, but they are refreshing (24 mkII) and expanding (17) TS lens line). Asking for a fast autofocus in this lens - when at least 50% (if not more) of joy from using it comes from manipulating the focus pane, point and DoF - is like asking for a big trunk in a sports coupe. With respect to infinite DoF by tilting instead of gong down to f16-22 and loosing detail due to diffraction - please refer to YMHARNC review. Expensive? Definitely yes. But are other special application tools that you know of or use - when compared to regular items of their category - cheap?
Date published: 2012-02-08
Rated 5 out of 5 by from View Camera capabilities... As soon as I learned how to use a view camera, I became disappointed in my 35mm because it lacked some of the controls available in large format. Notably, one could not correct perspective distortion or achieve a deep field of focus under some conditions. With this lens, control returns. Although it is possible to correct some perspective distortion in image-editing software, this is achieved at the expense of sharpness, and results in incorrect proportions. Also, using image-editing software to achieve correction results in losing image area - the more correction applied, the more you lose. There is no way to achieve the kind of depth-of-focus possible with this lens through image-editing software. While it may be possible to get great depth-of-field by stopping down, sharpness starts to fall off as diffraction sets in. The tilt and shift features of this lens allow great flexibility and control. The ability to rotate the axis of operation of these features is a big bonus. This lens is incredibly sharp, produces images with great color and contrast, and offers the side-benefit of sharing the filter size of the Canon EF 16-35mm f/2.8L II USM. I feel like I have my view camera back. I don't have to stretch images in an image editor to correct perspective distortion - I can do it in-camera, maximizing the image area recorded. The ability to tilt the lens for increased depth-of-focus opens up new ground for my landscape photography. Now I can shoot at large lens openings and get everything from the flowers at my feet to the mountains on the horizon in perfect focus, without diffraction or loss of sharpness!
Date published: 2010-08-30
Rated 5 out of 5 by from Know Your Facts I've used this lens, which replaced the marginal Mk I version I owned previously, for over a year. Awesome doesn't begin to describe the image quality you can get with it. Canon engineers hit a home run with this lens. My extensive experience with t/s lenses and my particular experience with this lens leaves me scratching my head at a few of the comments I've read about the use of tilt-shift lenses and this lens in particular. My favorite feature of this lens is its ability to create a seamlessly sharp image from close up to infinity using the tilt feature. This takes a little practice. Some will argue that you don't benefit from this with a 24mm (wide angle) lens because of its inherently deep depth-of-field. This is simply not true. Wide angle lenses are often used close up, and the closer you are to your subject, the more you will need to employ tilt to bring the background into focus - even at narrow apertures with a wide angle lens. What's more, if you are able to achieve seamless foreground-to-background focus w/o tilt, you're probably doing it at f/16-22. If you can achieve the same thing using tilt at f/8, you will end up with a significantly sharper image because of the diffraction that occurs at f/16 and beyond. It is worth noting that this infinite focus effect is NOT something you can easily achieve in software (although PS does have a function requiring multiple bracketed-focus images that attempts to do so). Some suggest that you can't hand hold this lens so you might as well shoot with a standard lens and use software. It is true that you need a tripod when using TILT. It is laughable that the work around is to hand hold a standard lens and use software. You can't mimic infinite focus unless you start out that way; and if you're going to try to use focus-bracketed shots with PS to get close, you still need a tripod for your bracketed shots. When using SHIFT, the feature that allows you to maintain straight vertical lines with architecture and tall trees, you ABSOLUTELY CAN hand hold it. You will achieve the same results (by which I mean blur from camera shake or slight focus inaccuracies from minor movements as you take the shot) as hand holding a standard lens at the same shutter speed and f/stop - minus the keystoning. The same is true when a t/s lens is mounted on a monopod and shifted. When you shift a t/s lens, it is accurate to say that you lose resolution during the process. How much depends on the quality of the particular lens (which, in the case of this lens is outstanding), how far you are shifted, and at what aperture you are shooting. If you shoot at f/8, the loss is minimal even with an extreme shift, but it is there. However, to suggest that a work around is to use a standard lens and correct the distortion with software completely ignores the fact that you lose even more resolution -- significantly more -- by "stretching the pixels" in software after capture. So am I suggesting that a standard 24 has no advantages over its tilt-shift brethren? Not at all. The t/s is heavier; its manual-only focus system make it unsuitable for situations requiring fast focusing, and it lacks the image stabilization and/or wider apertures available in other lenses. It comes down to choosing the right tool for the job. My point is that the TS-E 24 II is a very good tool; for anyone to suggest it is "useless" is bringing their own knowledge and credibility into question. When I was shooting with the original TS-E 24, the Mk I, I realized that I was making a trade off. I was using a lens with some notable weaknesses in order to take advantage of the benefits that come with being able to tilt and shift. With this lens, that trade off is gone. The image quality is phenomenal and the tilt-shift actions give the lens a versatility that, in many ways, cannot be mimicked with software. Yes, this lens is expensive. Use one for a day and you'll understand why. Is it worth twice as much as the first version? Absolutely!
Date published: 2010-12-30
Rated 5 out of 5 by from Extremely useful for handheld photography If you have looked up resolution on this lens on The-Digital-Picture you already know it is incredibly sharp and distortion free. It has become my favorite lens for the type of industrial work that I do for heavy industry. However, I want to address a caveat that several reviewers have made: that it is essential to use a tripod with this lens especially when the tilt function is used. Nonsense. I have taken many pictures with the tilt function hand held. It is not that difficult to set up focus from near to far by going back and forth a bit with the tilt function. When you get it right, all that's necessary is to maintain the same camera angle to the subject. You can stand up, squat down, pivot left or right and the tilt function will work just fine as long as you hold the camera in your hand with the same angle. This ease of use makes the tilt function amazingly useful for many sorts of photography that are commonly encountered in factories, mills, mines, pipelines, and such. I rarely use a tripod for any photography and hardly ever need to use one with this lens.
Date published: 2011-10-25
Rated 5 out of 5 by from Excellent Lens Being my first TS lens - the picture quality - sharpness, color reproduction and contrast is exceptional. I own several L lenses and this has definitely one of the most sharpest pictures!! Playing with the Tilt and Shift does take time getting used to but learning this lens is fun. Would definitely recommend this lens.
Date published: 2010-01-13
Rated 5 out of 5 by from Best Tilt/Shift Due to its focal length, the tilt capability does not come into play unless the subject includes something very close. Nonetheless, when one has such a subject tilting is indispensable. For architecture, or any tall subject, being to use rise (i.e., shift up) is almost as good as a view camera. It is always best to get verticals vertical in camera to avoid stretching discernible subject elements such as circles out of shape as post processing may do. To give an example, one can stand across the street from a three-story building and capture the whole building with no distortion. Even if you cannot keep the subject vertical and need to rejigger in Photoshop, you're still better off than if the camera needed to be pointed up even more. The lens is not totally without chromatic aberration, particularly at its extremes. But one can deal with that if needed. Now I hope that a 90mm T/S II is in the works.
Date published: 2011-06-24
Rated 5 out of 5 by from Fantastic lens Darn near the sharpest lens I've ever used. No CA, no distortion. Extreme shift gets fuzzy at the edges, but you can work around with multiple shots if it's critical...
Date published: 2010-11-01
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