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Typical lenses correct for optical aberrations

only at commonly used focusing distances. Not

Most L-Series EF

surprisingly, at other focusing distances, especially

telephoto lenses are

close range, aberrations can compromise image

highly dust- and

water-resistant thanks

TS-E 24mm f/3.5L Floating System

to rubber seals at the

Focal plane

switch panels, exterior

Closest

shooting

seams, drop-in filter

distance

compartments and

Floating

lens mounts. Moving

parts, such as the focusing ring and switches,

are also designed to help keep out environmental

contaminants, providing reliable performance

under harsh conditions.

Floating Effect

(TS-E 24mm f/3.5L)

TS-E Movements

Tilt Movements alter the angle of the plane of focus between the lens and focal plane, and Shift Movements move the lens's

optical axis in parallel.

Astigmatism

quality. Rather than using fixed spacings, Canon's

floating system dynamically varies the gap

between key lens elements based on focusing

distance. Most aberrations are effectively sup-

pressed throughout the focusing range, assuring

high image quality in all shooting situations.

Canon lenses featuring circular aperture diaphragms

Reverse tilt and shift greatly reduces the range on which focusing

employ curved blades to create a smoothly rounded

is possible.

opening as the lens is stopped down. As a result,

most out-of-focus background highlights are

rendered as natural-looking rounded shapes

rather than as distracting polygons. These lenses

deliver smooth, consistent stop-down action

(even at 10 fps), near-silent operation and

excellent optical characteristics.

An inner focusing lens has the focusing lens

The lens's tilt mechanism is used to achieve a pan focus effect

group(s) in front of the diaphragm, while a rear

that allows focusing all the way back.

focusing lens has the focusing lens group(s) behind

Tilt Movements –Using a normal lens, shallow or deep focus is

the diaphragm. Both designs allow for compact

controlled by the size of the aperture used to adjust depth-of-

optical systems that produce faster AF. And because

field. Canon TS-E lenses can help achieve this by the tilting of

the front of the lens does not rotate to focus, filter

the lens barrel in relationship to the focal and subject planes.

This allows for the appearance of extremely deep focus even at

orientation remains constant.

wide open apertures, and shallow focus at smaller apertures.

Pressing the AF Stop button (featured on several

EF IS telephoto lenses) momentarily locks the AF

to help prevent the focus from shifting to a passing

obstruction. After the obstruction has cleared, the

focus will still be on the subject, and you can quickly

resume shooting. AF Stop buttons are positioned at

Using Tilt Movements to Focus an Oblique Subject Plane

four locations around the lens grip for easy access.

EF 24mm f/1.4L II USM •f/2.8 •1/30 sec.

Canon EOS cameras with EF lenses deliver impec-

cable AF precision. Manual focusing capability,

nevertheless, can enhance flexibility. Canon EF

lenses with full-time manual focusing enable the

photographer to manually tweak focus without

switching out of AF mode. Since AF action does

not cause the focusing ring to turn, it can be made

wider for improved grip and comfort.

Shift was used to adjust the image to keep the building

perpendicular all the way to the top.

Without using shift causes the image of the building to lean in at

the top.

Shift Movements – By keeping the camera level, and

using the shift function to raise the lens instead, this per-

spective effect can be corrected. With the camera's focal

plane set parallel to the building, shifting the lens upward

will obtain a more rectangular-looking building.

Depth-of-field with tilt movements

Plane of optimum focus

Film plane

With a normal lens

Using Shift Movements to Focus Tall Building

EF 15mm f/2.8 Fisheye •f/16 •1/640 sec.

— Designed for the Canon EOS 7D,

EOS 50D and all EOS Rebel models with APS-C

sized sensors (with a 1.6x crop factor), Canon's

EF-S lenses take advantage of the sensor's smaller

size to help deliver optimized performance in

compact, lightweight designs. The EF-S 15-85mm

f/3.5-5.6 IS USM is a perfect example of this

technology. With a compact design, a 35mm

equivalent range of 24-136mm, and Optical Image

Stabilizer technology, it's a superlative walk-

around lens... possibly the only lens you'll need

to enjoy basic Canon digital SLR photography.

— Perfect for super wide-angle and special

effect photography, Canon's full-frame fisheye

can focus as close as eight inches (0.2m), and

delivers exceptionally sharp images throughout

its focus range. Up to three gel filters can be inserted

into its built-in rear filter holder.

— TS-E lenses are capable of tilt and shift

movements, which bring many of the advantages

of technical view cameras to the EOS System. Tilt

movements alter the angle of the plane of focus

between the lens and film plane, making broad

depth-of-field possible even at larger apertures;

shift movements slide the lens's optical axis along

the film/sensor plane, enabling photographers

to correct or alter perspective at almost any angle.

FOCAL LENGTH COMPARISON

15mm Fisheye

14mm

180°

35mm

50mm

63°

With a TS-E lens

200mm

300mm

12°

— Canon's EF lens lineup has a number of

About Macro Magnification

options for true close-up and macro photography.

A life-size macro lens—that is, a 1x magnification—records an

With five macro lenses for precision, and three

image on film at its actual size. If you're photographing a

flower, for example, and it has a diameter of 1 in., it will occupy

screw-on close-up lenses for convenience—in

1 in. of your actual slide or

addition to Life-Size Converter EF and two Extension

negative. With a digital SLR,

at 1.0x magnification, the

Tubes—Canon's macro lenses and close-up

image projected onto your

accessories can uncover detail that is nearly

camera's sensor will likewise

impossible for the unaided human eye to detect.

be the same size at the sensor

plane as the actual subject

itself. Other macro lenses

have lower or higher

magnifications. A lens with

In designing the EF lens mount, Canon engineers

0.5x magnification will

gave photographers a lot more than a way to quickly

produce an image on film

attach a lens to a camera body. As the commu-

that is half the size of the

actual subject. Your 1 in.

nication conduit between camera and lens, this

flower then would only

fully electronic mount system has none of the shock,

occupy 0.5 in. on film.

operational noise, abrasion, play, lubrication

In the other direction, a 5x

requirements, slow response, lever operation

magnification lens will

convert the 1-in. flower to a

limitations, or other design restrictions related to

5-in. diameter image. Since

mechanical linkage mechanisms. A self-test system,

the entire image won't fit in

using the lens's built-in microcomputer, can even

the frame of your film, you

will have an enlarged image

warn of malfunctions through the camera's display.

of a detail of the flower.

The EF mount makes possible high-speed autofocus,

precise aperture control and preview, automatic

Magnification is not the

same as focal length. A

compensation with lens extenders, and both for-

50mm lens and a 180mm

ward and backwardcompatibility with new lens

might both be macro lenses

with, for example, 1.0x

technologies—such as USM and IS—as they are

magnification. The advantage

developed by Canon.

of the longer lens is that it

allows greater distance from

a subject, while allowing the

same magnification in the

final image. The 180mm

lens is ideal for shooting

tiny subjects without

disturbing them; the 50mm

is better choice for copying

flat documents.

17mm

20mm

24mm

114°

104°

94°

70mm

85mm

100mm

46°

34°

28° 30'

400mm

500mm

600mm

8° 15'

6° 10'

5°

EF LENSES

0.25x

0.5x

1.0x

3.0x

5.0x

28mm

84°

75°

135mm

24°

18°

1200mm

4° 10'

2° 5'