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Archive 2017 · 11-24 and City Scapes

  
 
eleff
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p.1 #1 · p.1 #1 · 11-24 and City Scapes


I just bought the 11-24 on the 10% off refurbished Canon Sale (it arrives later this week). I am a hobbyist and have recently moved from Washington D.C. to New York City. I have a 17 TSE, but now that I am in the City, I am interested in New York City street and outside skyscraper scenes.

Anyone have some good references on how to use the extreme end of the 11-24 for that purpose? Anyone voting to using just the 17 TSE and stitching instead (hopefully not since I just spent the money for the 11-24).

How critical are filters and what system do people recommend that will work with both lenses?

The lens will be mounted on my 5d-SR



Jan 23, 2017 at 02:44 PM
brnord
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p.1 #2 · p.1 #2 · 11-24 and City Scapes


It depends on your goals, really.

If you're going for a more walk-around, creative approach I think the 11-24 would be a very fun lens to try in a big city. If this is the case, just start using it - apply what you know or think you know and experiment to learn more. As with most wide angle photography, just be aware of your perspective and what that does to your foreground and background.

But, if your goal is to create architectural photography with no converging verticals, no perspective distortion and the ability to make panos then you already had 1 of the 2 best lenses for that application - the other being the 24 TS-e.



Jan 23, 2017 at 02:52 PM
Plinian
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p.1 #3 · p.1 #3 · 11-24 and City Scapes


I bought the 11-24 about a year ago, after having owned (and enjoyed) the 17TSE for a couple years previously, and I love having the 11-24, in part for the compositional flexibility that comes with any zoom, and in part because the 11-24 seems to handle flare much better than the 17TSE.

I still have the 17TSE but don't use it very often, but most (all, really) of my WA images are landscape rather than architecture. One of these days I'll probably try some architecture, and will look forward to shifting with the 17TSE.

For filters, I use the Lee SW150 system with Wonderpana adapters as indicated here:

https://www.fredmiranda.com/forum/topic/1366499/0

The nice thing about that setup is that a single set of filters (Lee SW150) can then be used with the 11-24, the 17TSE, and the 24-70.



Jan 23, 2017 at 03:20 PM
eleff
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p.1 #4 · p.1 #4 · 11-24 and City Scapes


Some of the filter reviews say that 150 will not work below 14mm. Is that true?

Also I will use my 17tse for interior architecture, the 11-24 is for walk around and city scapes. I will use it like my 17 and see how it differs from 11mm



Jan 23, 2017 at 05:35 PM
Plinian
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p.1 #5 · p.1 #5 · 11-24 and City Scapes


eleff wrote:
Some of the filter reviews say that 150 will not work below 14mm. Is that true?

Also I will use my 17tse for interior architecture, the 11-24 is for walk around and city scapes. I will use it like my 17 and see how it differs from 11mm


Yup...the Lee SW150 system will vignette as you get really wide; with a single filter, it gets problematic at 12-13. I guess there are alternative solutions (Lucroit, new Wonderpana), so one will need to make choices and weigh the pros/cons depending on their projected use and tolerance. For me, the advantages of being able to use a single filter system across all my lenses outweighs the potential disadvantages. About 10% of my images with the 11-24 are <13 mm in situations where I would need a filter, but that will obviously vary.



Jan 24, 2017 at 03:35 PM
Roland W
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p.1 #6 · p.1 #6 · 11-24 and City Scapes


For many shots where you shift the TS-E 17 to improve or eliminate perspective distortion, the 11-24 set wide, and leveled or near leveled will get you a similar shot. It is so much wider, and leaves room to crop off part of the image, and get what would have been the shifted image. Better done with a high resolution camera, but still can be useful with a standard res camera. You also can finish off or improve on perspective distortion by using post processing. That will trim a bit off your image, but again, the 11-24 is so wide that you can afford to loose some.

I have not done city or building shots with my 11-24, but I sure like it very much for landscape, and also quite a lot for night shooting of starry skies and the Milky Way. I use a tracker at night to make up for the f/4 maximum aperture.

I have not gone ahead with the Wonderpana filter system for the 11-24, but probably will soon. It looks very well made, and gives full coverage. It also forms a bit of a hood, and give some protection to the front of the lens. I have need for solid ND for the 11-24, as well as a polarizer for water and foliage situations. Obviously a polarizer is not great for a lens that wide when you are shooting landscape that includes blue sky, but at times the main landscape benefits make fixing the sky in post a worthwhile effort.



Jan 24, 2017 at 04:07 PM
SoundHound
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p.1 #7 · p.1 #7 · 11-24 and City Scapes


One way to mimic the UWAs with the 17TSE is to tilt quite a bit on the horizontal axis. Shoot one shot then rotate the camera upside down and shoot the "other side." Then way stitch in the middle of the frame. The tilted frame edges are then perspective neutral.

Not sure how wide the result is (depends somewhat on the overlap) but likely something close to 11/12mm in a semi panorama aspect ratio.



Jan 24, 2017 at 09:59 PM
mogud
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p.1 #8 · p.1 #8 · 11-24 and City Scapes


eleff wrote:
Some of the filter reviews say that 150 will not work below 14mm. Is that true?

Also I will use my 17tse for interior architecture, the 11-24 is for walk around and city scapes. I will use it like my 17 and see how it differs from 11mm


AFAIK, vignetting starts at 12.5mm and only slightly in the corners. I'm not concerned about the vignetting because it can be easily cropped out in post. I'm planning to get the Lee system for my 11-24 this spring.



Jan 25, 2017 at 01:10 PM
ben egbert
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p.1 #9 · p.1 #9 · 11-24 and City Scapes


I had the 17 and 24TSE and now the 11-24. I had a filter system for my 17TSE but sold it after selling my 17TSE. I ditched filters well before selling my Lee and Singh Ray filters I have trouble with manual focus so this is a personal issue.

But the 17TSE would be my first choice in cityscapes. The 11-24 is amazing but it needs to be absolutely level to avoid distortion and then it is really good for its focal length.

The 11-24 is better at flare, the 17TSE is sharper in the corners and has less CA.



Jan 25, 2017 at 01:17 PM
MMcGrath
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p.1 #10 · p.1 #10 · 11-24 and City Scapes


I'll post some shots of Tokyo taken with the 11-24 later today, posting from mobile phone just now, but I echo what has been said above about it being an awesome lens. My only issue with it was any time I used it as a walkabout lens I was afraid that the big globe of a front element would get damaged. This and the fact I hardly used it led to my decision to sell mine in the past few days. Bought a 16-35 F4 L IS as the replacement as Canon in the UK were offering £80 cash back and it's a lot less conspicuous as a walkabout lens.


Jan 25, 2017 at 01:55 PM
Abbott Schindl
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p.1 #11 · p.1 #11 · 11-24 and City Scapes


I don't know that I'd use the 11-24 over a TS-E for skyscrapers unless you're trying to capture entire buildings in a frame and didn't mind the 11-24's perspective distortion at the super-wide end, or you're deliberately taking advantage of convergence.

BUT: since you're also interested in street photography, maybe consider taking advantage of the 11-24's perspective stretching ability to represent smaller objects in their city context. I haven't used my 11-24 for cityscapes yet (I'm a nature/landscape photographer), and I hope you can find city analogies to these examples. I've only had my 11-24 for several [nasty winter] months and am looking forward to more extensive use later this year.

The bridge on the Oregon Coast is small and its character changes significantly as one's position changes. I think you'll find direct analogies in NYC and vicinity.

Sand patterns were made by fresh water draining down a cliff and gently flowing over sand. The patterns are several feet long and I chose to position the camera to capture the interesting patterns in an environmental context as well as up-close (not shown in these examples). The 5DSR brings out stunning pattern detail.

And then, of course, ultra-wide sunsets can be wonderful and I'm sure NYC area has lots of interesting contexts for this. Maybe look for statues or silhouettes that can take advantage of wide sunsets. Notice in my example that I've left just enough ocean and shore content to ground the sunset.

As for filters: I haven't found a need for them yet with this lens. Pretty much anything I'd tend to do can be done in post. I might look into ND filters eventually, but most of what I'd do with them can be done with my 16-35, which already has a nice set of NDs.





Bridge and stream







Bridge, seashore context







Sand patterns







Sand patterns







Sunset




Jan 25, 2017 at 02:49 PM
eleff
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p.1 #12 · p.1 #12 · 11-24 and City Scapes


Lovely landscapes. I just got the lens yesterday. What a fun lens at 11mm. The 5dSR has a built in level which is required with this lens. I used it in the subway stations and in the subway at 5 this morning. It will be a steep learning curve. Much different than my tse 17. The trick seems to be having an object inches away from the lens in the foreground. It may require far more artistic talent than I have, but that is what makes it fun.


Jan 26, 2017 at 02:27 PM
Bentzen
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p.1 #13 · p.1 #13 · 11-24 and City Scapes


eleff wrote:
Lovely landscapes. I just got the lens yesterday. What a fun lens at 11mm. The 5dSR has a built in level which is required with this lens. I used it in the subway stations and in the subway at 5 this morning. It will be a steep learning curve. Much different than my tse 17. The trick seems to be having an object inches away from the lens in the foreground. It may require far more artistic talent than I have, but that is what makes it fun.


I dont understand. Why do you need a level switch with this lens? Does that mean I cant use this lens on my 5Dmk3?



Feb 21, 2017 at 02:40 AM
dickgillberg
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p.1 #14 · p.1 #14 · 11-24 and City Scapes


You do have a level on your 5D3. Use the info button.


Feb 21, 2017 at 09:02 AM
IndyFab
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p.1 #15 · p.1 #15 · 11-24 and City Scapes


I don't worry about converging verticals, and perspective distortion that's what adaptive wide angle and lens correction in PS is for, and they work vey well.
Learn how to use them, and you will see they do a terrific job



Feb 21, 2017 at 09:52 AM
stevesanacore
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p.1 #16 · p.1 #16 · 11-24 and City Scapes


I've been renting and shooting with the 11-24 soon after it's release. It's in a class of it's own. It's a phenomenal optic that I'm sure you will enjoy using. However it is large and heavy for a walk about lens. I've mostly used it on architecture as an ultra wide along side my 17 and 24 TS-E lenses and it's a great match. It holds up very well with regard to distortion and sharpness that I can see in practical use. Like a few others have already mentioned, you can keep the verticals straight and then crop and it's a great substitute for the TSE. I find handholding the 17 shift to be very impractical whereas the 11-24 is a bit heavier but easier to manage. Enjoy!


Feb 22, 2017 at 08:13 AM
Scott Stoness
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p.1 #17 · p.1 #17 · 11-24 and City Scapes


Bentzen wrote:
I dont understand. Why do you need a level switch with this lens? Does that mean I cant use this lens on my 5Dmk3?


If the lens is not level the buildings will be bowed from perspective distortion. This is not a 11-24 issue but a common issue to all wide angle lens. But it becomes more dramatic as you get wider and 11-24 at 11 is really wide. But so is 17mm for example on TS17 e.g. Skyscrapers edges will be not be up and down - but curved. Leveling the lens makes this go away. But then you will end up throwing away 1/3 of the image because you will have too much ground. This is why the ts17 is a better choice for architecture - you can shift it up and not lose 1/3 of your image.

As mentioned your 5d3 has an electronic level but in my opinion it sucks. So does the electronic level in all canon cameras. You can buy a level that goes in your flash shoe for $25 and its way easier to use than an electronic level. Or you can just pick a vertical line like a tree or building and tilt the lens until the distortion goes away. I find the latter technique to be most effective when i forget my flash shoe bubble level.

You need to do this (level first before shifting) with the ts lens too.You just don't throw away the bottom 1/3 because you shift up and avoid 1/3 being wasted area. The TS is a better tool for architecture.



Feb 22, 2017 at 08:44 AM
Bentzen
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p.1 #18 · p.1 #18 · 11-24 and City Scapes


Thank you. I just plug in my Really Right Stuff level on to the flash mount.


Feb 24, 2017 at 01:13 AM





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