17 and 24mm TS-E lens profile?

[figuratives_peech]

how come Canon didn't release lens correction profiles for their finest glass like 17 and 24mm TS-E?

Does anyone know which vignette and distortion values work best for these babies? I need them in LR 4.3





cheers




Beno

 

[billythek]

figuratives_peech wrote:

how come Canon didn't release lens correction profiles for their finest glass like 17 and 24mm TS-E?

Does anyone know which vignette and distortion values work best for these babies? I need them in LR 4.3

Canon is not the one who does LR profiles, Adobe does that. You can make your own lens profiles. Check on the Adobe site for how to do that. Perhaps someone else already has done it.

You may run into issues when tilting/shifting that the lens profiles may not be able to handle, though.

 

[Nigel Wilkins]

figuratives_peech wrote:

how come Canon didn't release lens correction profiles for their finest glass like 17 and 24mm TS-E?

Does anyone know which vignette and distortion values work best for these babies? I need them in LR 4.3

cheers

Beno

Correction profiles won't work for these lenses as the software has no way of knowing where the centre of distortion is. Tilt or shift movements aren't recorded, so any values would only work with the lens centred, which kind of defeats the object.

 

[Mike K]

The 24 TSE has almost no distortion, except at shift extremes. Also at shift extreme (12mm) there is considerable vignette, typical of every FF TS lens. How do you measure tilt distortion when you have no record of tilt amount? Tilt and shift at the same time? Lens correction only makes sense for lenses of fixed orientation.

http://www.dpreview.com/lensreviews/canon_24_3p5_tse_c10/

 

[gdanmitchell]

Nigel Wilkins wrote:

Correction profiles won't work for these lenses as the software has no way of knowing where the centre of distortion is. Tilt or shift movements aren't recorded, so any values would only work with the lens centred, which kind of defeats the object.

Of the three answers offered above... this is the correct one.

 

[joger]

figuratives_peech wrote:

how come Canon didn't release lens correction profiles for their finest glass like 17 and 24mm TS-E?

Does anyone know which vignette and distortion values work best for these babies? I need them in LR 4.3

cheers

Beno

Hi Beno - you don't really need them in LR!




The TS-E 17 and 24 II have almost mo geometric distortion. It is so small that you should not see it even in critical situations with straight lines and fully shifted like in this images with two fully shifted images stitched together:

TS-E 17 and no correction of geometry

the vignetting can be corrected manually - it takes only a few attempts until you get flawless results




There is hardly any CA and if you happen to have it correct it also manually in the color menu by switch on: "remove chromatic aberration"




CA only happens in very bright parts of the image and you should see it and the option in LR really helps to get the last bit of imperfection corrected.




The TS-E 17 is a masterpiece in optical design.

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[RealtyPhoto]

When processing files from the canon 17mm and 24mm tilt-shift lenses, I can create merge them into HDR, and panoramas, but when I try to merge the HDR photos into a panorama, it either tells me it can't, or it merges and tells me that the image appears damaged. Sometimes i can see the damage other times not. I am very confused.

 

[Steve BB]

Does anyone have any settings for Vignette amount and midpoint that they use when non-shifted?

Surely there can be a standard profile or universal settings to use when not shifted, as it's a known value?

 

[Rodger in Edmonton]

Does anyone have any settings for Vignette amount and midpoint that they use when non-shifted?

Surely there can be a standard profile or universal settings to use when not shifted, as it's a known value?

https://www.opticallimits.com/canon_eos_ff/485-canontse17f4ff

VignettingThe Canon lens has an immense image circle so it's no surprise that its vignetting figures are about as good as it gets today. Technically the vignetting is naturally still fairly pronounced at f/4 (@ ~1.3EV) but this is very acceptable for an ultra-wide lens - the Canon EF 16-35mm f/2.8 is worse @ f/4 for instance.

DistortionUltra-wide lenses tend to be a bit "laissez-faire" when it comes to distortion but the Canon TS-E 17mm f/4 L plays in a different league here. It shows only slight barrel barrel distortion of just over 1.1% albeit based on a somewhat wavy subfrequency. This is highly impressive for a lens in this class.

https://www.opticallimits.com/canon_eos_ff/603-canon24f35tse2?start=2

VignettingTS-E lenses are sort of over-designed in their neutral setup because the image circle is substantially bigger than the effective image field. Compared to conventional lenses, the TS-E 24mm f/3.5 L II produces only very slight vignetting on a full format DSLR. In absolute terms you will still be able to spot some vignetting at max. aperture (~1EV). The issue is not really field-relevant anymore from f/5.6 onwards.

Just to illustrate the "sweet spot" effect at this setting - here's qualitative illustration of the effective image field vs the image circle:

MTF (resolution)The Canon delivers very impressive resolution figures at its conventional setup. The image center is already exceedingly sharp at f/3.5 and basically hitting and probably exceeding the limits of the camera sensor. The image center is so-called "diffraction limited" because the maximum performance is already present at max. aperture. The borders and corners are also very sharp here already. There's only a marginal increase in technical quality when stopping down to f/5.6. At f/11 and of course more so at f/16, we're seeing some more diffraction effects which lower the image quality but the lens remains perfectly usable.

Please note that the MTF results are not directly comparable across the different systems!

Below is a simplified summary of the formal findings. The chart shows line widths per picture height (LW/PH) which can be taken as a measure for sharpness. If you want to know more about the MTF50 figures you may check out the corresponding Imatest Explanations

Chromatic Aberrations (CAs)Canon has done an excellent job regarding the reduction of lateral CAs (color shadows at hard contrast transitions). They vary around 0.4px at the image borders which is hardly visible and not relevant anymore.

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[BlueRay2]

Does anyone have any settings for Vignette amount and midpoint that they use when non-shifted?

Surely there can be a standard profile or universal settings to use when not shifted, as it's a known value?

if you haven't noticed, this post is from 2013. you may want to start a new thread with that question and elicit some interest and answers. i'd be interested, also. i have both lenses ;-)

 

[Steve BB]

Does anyone have any settings for Vignette amount and midpoint that they use when non-shifted?

Surely there can be a standard profile or universal settings to use when not shifted, as it's a known value?

if you haven't noticed, this post is from 2013. you may want to start a new thread with that question and elicit some interest and answers. i'd be interested, also. i have both lenses ;-)

You replied!

Ok I'll start a new post, but I reckon i'll get told to use the forum search function

 

[Steve BB]

VignettingThe Canon lens has an immense image circle so it's no surprise that its vignetting figures are about as good as it gets today. Technically the vignetting is naturally still fairly pronounced at f/4 (@ ~1.3EV) but this is very acceptable for an ultra-wide lens - the Canon EF 16-35mm f/2.8 is worse @ f/4 for instance.

Thanks this is all super fascinating. The lack of distortion without any correction is super impressive. But the vignetting is really noticeable even when not shifted probably because with a lens like the EF 15-35 (which I have also) has a correction profile applied.

Im shooting artworks in a gallery against a white wall, and got the tilt shift so i could keep the camera at a height so the centre line of the paintings is at 'eye level' but then be able to shift down, to get more floor in shot, and less ceiling. Especially useful if there is also a sculpture on the floor and you dont want to tilt the camera. So as I'm shooting against a white wall, the vignetting is super noticeable.

 

[Sittatunga]

VignettingThe Canon lens has an immense image circle so it's no surprise that its vignetting figures are about as good as it gets today. Technically the vignetting is naturally still fairly pronounced at f/4 (@ ~1.3EV) but this is very acceptable for an ultra-wide lens - the Canon EF 16-35mm f/2.8 is worse @ f/4 for instance.

Thanks this is all super fascinating. The lack of distortion without any correction is super impressive. But the vignetting is really noticeable even when not shifted probably because with a lens like the EF 15-35 (which I have also) has a correction profile applied.

Im shooting artworks in a gallery against a white wall, and got the tilt shift so i could keep the camera at a height so the centre line of the paintings is at 'eye level' but then be able to shift down, to get more floor in shot, and less ceiling. Especially useful if there is also a sculpture on the floor and you dont want to tilt the camera. So as I'm shooting against a white wall, the vignetting is super noticeable.

The easiest way to correct the vignetting for a shifted lens is to enlarge the canvas of the image so that you can put the centre of the lens' image circle at the centre of the canvas. (Easier said than done as you'll have to work out where that is and you probably won't have recorded the actual amount of shift.)

Once you've done that, you can then use your editing program's vignetting correction manually and then crop to taste. There's no easy way of doing that automatically without the camera recording the amount of shift in the EXIF data though.

The alternative would similar to astrophotography processing. Plut a diffuser over the lens and take a flat exposure (same aperture and focus setting) to use for subtracting the gradients. Using a tripod, the flat exposure could also compensate for any unevenness in the lighting, but that's not practical unless you've got a private session to record the exhibits.

 

[Rodger in Edmonton]

VignettingThe Canon lens has an immense image circle so it's no surprise that its vignetting figures are about as good as it gets today. Technically the vignetting is naturally still fairly pronounced at f/4 (@ ~1.3EV) but this is very acceptable for an ultra-wide lens - the Canon EF 16-35mm f/2.8 is worse @ f/4 for instance.

Thanks this is all super fascinating. The lack of distortion without any correction is super impressive. But the vignetting is really noticeable even when not shifted probably because with a lens like the EF 15-35 (which I have also) has a correction profile applied.

Im shooting artworks in a gallery against a white wall, and got the tilt shift so i could keep the camera at a height so the centre line of the paintings is at 'eye level' but then be able to shift down, to get more floor in shot, and less ceiling. Especially useful if there is also a sculpture on the floor and you dont want to tilt the camera. So as I'm shooting against a white wall, the vignetting is super noticeable.

Mea culpa, that's a different kettle of fish - tried a bracket and level the exposures?

Closer to get well inside the vignette?



--
Best Regards, Rodger
Save Lives - Be an Organ or Stem Cell Donor.
Quaecumque vera

 

[John Crowe]

The 17 TS-E has been my main lens for 10 years. In ACR I always dial in +12 to +17 at default centering for vignetting. I do a lot of shifting/stitching and I apply this to shifted and unshifted images. If I am in a rush I just dial in +17.

There is extremely little CA. I will check from time to time with backlit images and simply turn correction on. Again, if I am processing a bunch of images I will simply turn it on anyway. Rarely, if ever, do I need to dial in more strength.

Fully shifted images require at least one full stop extra exposure. When shifting/stitching I balance the exposures of each frame so that the overlap areas closely match. With some subjects Photoshop blends exposure easily with others you can see the border if the exposures were not matched.