As a professional photographer, I make it a point to rent a wide range of photography equipment each year. There are times when I need extra lighting or backup gear for a specific shoot, but more often, I rent lenses that don’t quite fit into my regular rotation. Renting allows me to try out gear before committing to a purchase, ensuring I only invest in equipment that genuinely enhances my creative process.
Over time, I’ve realized that some of my favorite pieces of equipment are not necessarily the most technically advanced or expensive. For example, my 40mm pancake lens is a compact, inexpensive option, yet I love it. It’s far from the sharpest lens, but its simplicity and portability make it a go-to for casual shooting. While I would never consider it a “top-tier” lens, its ease of use and compact design make it invaluable for specific situations.
When it comes to lenses and gear priced above $1,000, I always choose to rent before making any decisions. This was precisely the case when I rented both the Canon 16-35mm and Canon TS-E 24mm lenses to test them out in real-world shooting conditions.
Exploring the Canon 16-35mm and Canon TS-E 24mm at the Peninsula Hotel
In late 2018, I was fortunate enough to be commissioned to photograph the luxurious Peninsula Hotel in Chicago during its holiday season. The creative direction for the shoot was largely open-ended, with the primary focus being the hotel’s spectacular holiday decorations. This provided me with the rare opportunity to experiment freely, pushing the boundaries of my usual shooting style and testing new equipment. Since the shoot would take place indoors, I thought it would be the perfect chance to try out the Canon 16-35mm f/2.8L II and the Canon TS-E 24mm tilt-shift lens—two lenses I had been eyeing for a while but hadn’t yet had the chance to fully explore.
Typically, I rely on my Canon 24-70mm f/2.8 lens for projects like this. It’s versatile, reliable, and covers most focal lengths I need for general interior and detail shots. However, I was eager to see if the wider perspective offered by the 16-35mm, as well as the specialized tilt-shift capabilities of the TS-E 24mm, could bring something new to my photography and improve my final results.
Testing the Canon 16-35mm f/2.8L II: Wide, But Not a Game-Changer
Back in 2017, I rented both the Canon 16-35mm and Canon 24-70mm lenses for a few different shoots. Initially, I was quite taken with the 16-35mm, and I even considered purchasing it, as I thought it would be a valuable addition to my kit. However, over the years, I’ve learned that rushing into purchasing high-ticket equipment is a mistake. It’s easy to get caught up in the excitement of trying new gear, but making a thoughtful decision is essential. After taking more time to reflect on the needs of my workflow, I ultimately decided to stick with the Canon 24-70mm, and I’ve never regretted it. It’s a workhorse of a lens that has more than fulfilled my needs over the years.
At the time of renting the 16-35mm, I already owned a Zeiss 15mm lens, which I love for wide-angle shots with a dramatic flair. The 15mm, in my opinion, covers all the ultra-wide-angle needs I could have, rendering the 16-35mm less appealing. Even after testing it again during the Peninsula Hotel shoot, I still didn’t feel the need to purchase it. The 16-35mm didn’t seem to fill any meaningful gaps between my 15mm and 24-70mm lenses, which already cover a wide range of focal lengths and shooting situations.
The 16-35mm performed well in the indoor, tightly framed shots that were required by the hotel shoot. The lens is sharp and quick, and its wide focal range offers a lot of flexibility for interior photography. However, when looking at the images post-shoot, I didn’t find that the lens added anything unique or indispensable to my work. Between my Zeiss 15mm, which offers the ultra-wide shots I occasionally crave, and the 24-70mm, which provides versatility for almost every scenario, I felt no strong pull toward the 16-35mm for the kind of photography I tend to focus on.
Another factor influencing my decision is the growing trend of wide-angle shots, especially for social media influencers and digital content creators. Wide-angle lenses have become somewhat of a trend in recent years, and while they do have their place in the visual world, I tend to avoid jumping on bandwagons just because they’re popular. While I appreciate the exaggerated perspective and dramatic effect that wide-angle shots can have, I’ve never felt the need to rely on them exclusively. I prefer using wide-angle lenses sparingly, only when it enhances the image or adds something creative to the shot.
In summary, although I enjoyed testing the 16-35mm during my time at the Peninsula Hotel, I don’t feel that it’s a lens that needs to be a permanent part of my kit. The 16-35mm might be perfect for photographers who shoot a lot of architectural interiors or those who need a versatile wide-angle lens for everyday work, but for my style and workflow, it simply doesn’t offer enough value to justify the cost.
The Canon TS-E 24mm Tilt-Shift: Precision for Architectural Shots
In contrast to the Canon 16-35mm, the TS-E 24mm tilt-shift lens was a completely different experience. Over the last couple of years, I’ve found myself increasingly interested in interior and architectural photography. For a long time, this aspect of photography was just a small addition to my other work, like travel and food photography. However, recently I’ve been drawn to the idea of focusing more on interiors, particularly capturing the intricate details and unique perspectives of indoor spaces.
Many of the interior photographers whose work I admire use tilt-shift lenses, and it piqued my curiosity. Tilt-shift lenses allow for more control over perspective and depth of field, making them a powerful tool for architectural and fine art photography. I’d never used a tilt-shift lens before, so when I had the opportunity to rent the Canon TS-E 24mm, I was eager to experiment with its functionality.
The TS-E 24mm allows you to shift the lens in multiple directions and also tilt the lens, which changes the plane of focus. This is incredibly useful for architectural photography, as it helps prevent the distortion that often occurs when shooting buildings with traditional lenses. Without tilt-shift, photographing tall buildings, for example, can result in the “keystoning” effect, where vertical lines appear to slant inwards. The TS-E 24mm corrects this by allowing you to shift the lens’s perspective, keeping lines straight and creating a more accurate representation of the space.
During the shoot at the Peninsula Hotel, I spent several days working with the TS-E 24mm. I had expected a steep learning curve, and I wasn’t disappointed. The tilt-shift mechanism requires patience and practice to get right. Adjusting the tilt and shift functions to achieve the perfect perspective took a fair amount of time, but the results were well worth it. The sharpness and clarity the TS-E 24mm provided were exceptional, especially in shots where I needed precise control over depth of field.
However, as enjoyable as the tilt-shift lens was to use, I quickly realized that mastering it would take more time and dedication. In a high-pressure environment, such as a time-sensitive shoot, I could see the tilt-shift lens potentially slowing me down. This is why I think I would need to use the TS-E 24mm consistently for a month or two before feeling confident enough to rely on it for important work. Nonetheless, I see the potential of the tilt-shift lens, and it’s something I plan to revisit in the future, especially for more architectural or interior-based projects.
Exploring the Canon TS-E 24mm Tilt-Shift: A Journey into Precision and Control
Over the last few years, I’ve found myself increasingly drawn to interior and architectural photography. What was once a peripheral element in my travel and food shoots has now blossomed into a deep interest, and with this shift in focus, I’ve become more intentional about the gear I choose for these types of projects. Many photographers whose work I deeply admire regularly use tilt-shift lenses, which sparked my curiosity. The unique capabilities of these lenses intrigued me, especially when I considered how they could benefit my work in food photography.
Food photography is often about controlling subtle details, and in many cases, controlling depth of field is crucial for creating a compelling image. Traditional lenses do a great job, but they sometimes struggle with certain angles or focal plane control, especially when shooting food from above or at an angle. This is where the tilt-shift lens comes in. With the tilt-shift feature, photographers can adjust the plane of focus, providing a much more precise way of directing the viewer's attention to specific areas of the frame.
While tilt-shift lenses are often used in architecture and landscape photography, they are much rarer in the food photography niche. This lack of widespread use among food photographers only heightened my interest. I began to imagine how the tilt-shift mechanism could help me maintain sharpness in angled tabletop shots—especially when the bottom of the frame typically suffers from excessive bokeh. I was excited to explore the Canon TS-E 24mm tilt-shift lens for this very reason.
The Canon TS-E 24mm Tilt-Shift: A New Way to Control Focus
From the moment I first used the Canon TS-E 24mm, I realized that it was an entirely different experience compared to my regular lenses. The tilt-shift feature allowed me to control the focus plane with a level of precision I had never experienced before. For food photography, this was a game-changer. Unlike my usual lenses, where the focus might fall off too quickly at the edges or bottom of an angled shot, the TS-E 24mm enabled me to keep the critical elements of the composition sharp, even when shooting from more extreme angles.
The clarity and sharpness that the TS-E 24mm provided were impressive. I noticed that when I aligned the tilt function properly, I was able to achieve an almost surreal level of detail in specific parts of the frame, while maintaining a smooth blur in the background. The ability to control the depth of field with such precision meant that I could create dynamic shots without losing focus on the key elements. I was able to direct the viewer's eye exactly where I wanted it, whether it was on the texture of the food, the composition, or even the light reflections.
Another advantage of the TS-E 24mm was its ability to correct for perspective distortions in architectural or interior shots. When photographing interiors, I’ve often encountered the problem of converging lines—where walls and ceilings appear to lean inward in the image due to the angle of the shot. The TS-E 24mm helped to alleviate this problem, allowing me to adjust the lens’s shift mechanism to straighten out vertical lines, making the final image more accurate and pleasing to the eye.
Mastering the Tilt-Shift Lens: A Steep Learning Curve
While the Canon TS-E 24mm tilt-shift lens offers unparalleled control over focus and perspective, it is not without its challenges. One of the first things I realized while working with this lens was that it requires a significant learning curve. Unlike standard lenses that you can quickly adjust by simply rotating the focus ring, the TS-E 24mm requires careful manipulation of both the tilt and shift functions to achieve the desired results.
The tilt function allows the photographer to adjust the plane of focus, and the shift function enables the lens to move horizontally or vertically without changing the perspective of the image. While these capabilities are incredibly powerful, they can also be tricky to master. Getting the right combination of tilt and shift to achieve the ideal image required patience, trial, and error.
During the three-day experiment with the TS-E 24mm at the Peninsula Hotel, I spent a lot of time adjusting the lens, trying to figure out how to manipulate it in ways that would produce the sharpest focus with the most flattering depth of field. Unlike standard lenses, where the focus ring provides immediate feedback, using the TS-E 24mm feels more like an exercise in fine-tuning. Every shift and tilt adjustment affects the final composition, meaning that even small changes could yield drastically different results.
While I found the learning process challenging, I could see the potential of the TS-E 24mm for more specialized work. The ability to control the focus plane with such precision opened up new possibilities, particularly for food and interior photography, where precise control over depth of field is essential. However, I knew that to use the lens confidently in a professional, time-sensitive environment, I would need to dedicate more time to practicing with it. The learning curve for tilt-shift lenses is steep, but the rewards for mastering them are substantial.
Integrating the Canon TS-E 24mm into My Workflow
At this point, after spending a few days experimenting with the TS-E 24mm, I’m convinced that this lens has a lot to offer. However, I also recognize that it requires consistent practice before I can comfortably incorporate it into my professional workflow. For now, I think that I would need at least a month of regular use before I could confidently use the TS-E 24mm for high-stakes shoots or other time-sensitive work. It’s not a lens I would rely on for a fast-paced commercial shoot just yet, but I believe it has a place in my kit for certain projects, particularly when I have the time to experiment and push its limits.
The more I experimented with the TS-E 24mm, the more I realized how much potential it holds for creative work. It allows for precision in ways that standard lenses simply can’t replicate, and it could open up new avenues for experimentation, especially in the world of food and architectural photography. While I may not yet be fully comfortable with its complexities, I see it as an investment in my craft. Once I’ve gained more experience with it, I believe the TS-E 24mm will be an invaluable tool in my gear lineup.
The Future of Tilt-Shift in My Photography
As I continue to refine my skills and incorporate new techniques into my photography, I’ll definitely be revisiting the Canon TS-E 24mm tilt-shift lens. The more time I spend with it, the more I appreciate its ability to create images that stand out in terms of both composition and sharpness. The precise control it offers over the focal plane and perspective can elevate the quality of my images in ways that other lenses simply can’t match.
In the future, I envision using the TS-E 24mm more frequently for architectural photography, where its perspective control and sharpness will be most beneficial. I can also see its potential in still life and food photography, where creating a focused subject with a beautifully blurred background can make all the difference. The possibilities with the TS-E 24mm are truly endless, and as I continue to grow as a photographer, I’m excited to explore how this lens can fit into my evolving style.
Ultimately, the Canon TS-E 24mm tilt-shift lens represents an exciting frontier for my photography. While it may take some time to fully master, I believe it will be a key tool in my creative toolkit, helping me to capture images with a level of precision and artistry that I’ve always aspired to achieve.
The Canon 24-70mm: The Lens That Defines My Photography
When it comes to essential gear, the Canon 24-70mm is unquestionably the crown jewel in my collection. It’s the lens I reach for most often, and for good reason. Whether I'm shooting interiors, food, portraits, or events, this lens is versatile enough to tackle nearly any situation I encounter. Over time, it has proven itself to be reliable, efficient, and capable of producing the high-quality results I demand from my work.
What makes this lens so indispensable is its flexibility. The 24-70mm range covers a wide variety of focal lengths, allowing me to adapt to different scenes without having to switch lenses mid-shoot. The wide-to-medium zoom range is ideal for capturing detailed close-ups, while still being wide enough for landscapes and environmental portraits. This range gives me the ability to frame a shot quickly, whether I’m working in tight spaces or shooting expansive views.
Earlier in my career, I primarily relied on the Sigma Art 35mm for my photography. The prime lens provided exceptional sharpness and image quality, but I quickly realized that a zoom lens like the Canon 24-70mm would give me a significant advantage in terms of workflow efficiency. Rather than constantly changing lenses to capture different compositions, I now have the convenience of zooming in and out without sacrificing image quality. This shift not only saved me time but also improved my ability to respond to the fast-paced nature of events or spontaneous moments, where quick composition changes are essential.
The Canon 24-70mm has been a workhorse in my toolkit, consistently providing sharp, vibrant images. The build quality is excellent, and I trust this lens to withstand the rigors of regular use. Whether I’m photographing a delicate food dish in a restaurant or capturing candid moments at a wedding, the 24-70mm has never let me down. It provides a perfect balance between usability and optical performance, making it a go-to for almost every project.
A Shift in Focus: The Tilt-Shift Lens as a Future Investment
Despite the unparalleled versatility and reliability of the Canon 24-70mm, there’s still room for growth in my gear collection. One lens that I’ve been thinking about incorporating into my setup is the tilt-shift lens. The Canon TS-E 24mm tilt-shift lens has piqued my interest for quite some time. Having experimented with it during a photoshoot at the Peninsula Hotel, I was able to see firsthand how tilt-shift lenses can open up new creative possibilities.
The tilt-shift lens is a specialized tool that offers an extraordinary level of control over depth of field and perspective. With its ability to shift the lens horizontally or vertically, as well as tilt the plane of focus, this lens opens up new avenues for architectural and interior photography. The advantage of using a tilt-shift lens lies in its ability to correct the convergence of lines, which is often a challenge when photographing tall buildings or shooting from high angles. The TS-E 24mm allows for precise adjustments, helping to keep vertical lines parallel and removing the “leaning” effect that can occur when photographing large structures.
Although the Canon TS-E 24mm is a powerful tool for architectural and interior work, it requires a commitment to learning. The tilt and shift mechanisms are not immediately intuitive, and mastering their use requires time and practice. After spending a few days testing the lens, I realized that it could take up to a month of regular use before I’d feel completely comfortable using it in time-sensitive shoots. The learning curve for tilt-shift lenses is steep, and I’m not in a rush to invest in one just yet. However, I can see how this lens could enhance my creativity, particularly when it comes to capturing dynamic, architecturally complex images or food shots that require extremely precise control over focus.
As I continue to refine my skills and push the boundaries of my creative work, I’m certain that I’ll revisit the tilt-shift lens in the future. While the Canon 24-70mm will remain my primary lens for the time being, I see the TS-E 24mm as an important addition to my toolkit once I’m ready to dedicate the time needed to truly master it.
Testing Gear: The Evolution of My Gear Evaluation Process
When I first started my photography career, I was heavily influenced by gear reviews. Reading detailed specifications, comparing pixel counts, and looking at sample images were part of my routine when considering new gear. However, over time, I realized that gear reviews often fail to address the most critical aspect of photography equipment: how it feels in your hands and fits into your workflow. The number of megapixels, while important, doesn’t always guarantee that a piece of gear will work for your specific needs.
What’s more important to me now is how a piece of equipment enables me to achieve my creative vision. Every lens and camera body has its own unique feel and workflow, and the best way to evaluate a lens is by testing it in real-world scenarios. Rather than relying solely on charts and reviews, I prefer to study the work of photographers I admire. I pay close attention to the gear they use, but more importantly, I analyze how they use it and how it contributes to the final image. I look at the composition, the lighting, the depth of field, and the overall aesthetic of their shots to determine what equipment might be best suited to help me achieve similar results.
The real value of testing gear comes from personal experience. When I test new lenses like the Canon TS-E 24mm or Canon 24-70mm, I’m looking for something that complements my shooting style. I consider whether the lens makes shooting easier or more intuitive, how it handles under pressure, and how it helps me achieve the precise look I’m after. In short, I focus on the “feel” of the gear rather than getting lost in technical details that may or may not apply to my specific needs.
Instead of taking reviews at face value, I now make informed decisions by considering the overall visual results I’m aiming for. I look for gear that not only meets technical standards but also enhances my creative process. Whether I’m experimenting with a tilt-shift lens for an interior shoot or relying on my trusted Canon 24-70mm for an event, the key to evaluating gear has shifted from specs to performance in real-world applications.
Why Gear Testing is Vital for My Workflow
As a photographer, the gear I use is an extension of my creative process. It’s not just about getting the sharpest image or the highest-quality output—it’s about creating something that resonates with my vision and style. Over the years, I’ve learned that gear testing is not just about finding the best piece of equipment; it’s about finding what works best for me in terms of comfort, efficiency, and image quality.
Gear testing has allowed me to build a setup that suits my shooting style. The Canon 24-70mm, for instance, is a reliable companion that I can always count on for nearly every job. While I’ll continue to explore new gear options—such as the tilt-shift lens—I’ll always rely on the fact that real-world testing is the key to determining what works best for me.
By testing lenses in the field, I can better understand their strengths and limitations. I can compare lenses like the Canon 24-70mm and the Canon TS-E 24mm in the context of the type of work I do. It’s through this process that I learn which tools elevate my work and help me stay true to my artistic vision.
Final Reflections:
When I first started out in photography, I often found myself consumed by the allure of gear reviews. Websites and forums flooded with specs, charts, and comparisons promised to give me the “ultimate” truth about a piece of equipment. However, over the years, I’ve come to realize that these technical aspects—though important—don’t always translate into better images or smoother workflows. While it’s tempting to get lost in pixel counts, sharpness metrics, and autofocus speeds, I’ve learned that the true value of a camera or lens lies in how it helps me translate my creative vision into reality.
In my experience, the most crucial aspect of any piece of gear is how it feels to use. The ergonomics, weight, and handling of a camera or lens can significantly impact the photographer’s ability to perform in different scenarios. For example, the 40mm pancake lens, despite being inexpensive and not top-of-the-line in terms of image quality, is a perfect example of gear that fits beautifully into my workflow. Its compactness and simplicity make it easy to use for everyday shots, and that’s a quality that I believe trumps theoretical superiority in certain cases.
This approach to testing gear—by actually renting and using it in real-world conditions—has proven invaluable. It’s much more effective than reading a slew of online reviews, as it allows me to directly assess how a lens or camera enhances (or hinders) my workflow. Equipment that feels intuitive and fits my style is always more valuable than something that technically outperforms others but feels clunky or alien to my shooting process.
The Canon 16-35mm and the Canon TS-E 24mm lenses were excellent examples of gear that, while intriguing on paper, didn’t necessarily suit my specific needs after testing them. Although both lenses delivered solid performance and would undoubtedly serve some photographers very well, they didn’t offer enough of an advantage over my current lineup of gear to justify purchasing them. The 16-35mm, for instance, offered wide angles but didn’t fill a gap between my Zeiss 15mm and Canon 24-70mm lenses. Similarly, the tilt-shift lens, while offering unique control over depth of field and perspective, required a learning curve that would need more time and practice to master effectively.
In contrast, my Canon 24-70mm continues to be the workhorse of my photography setup. It provides incredible versatility, covering everything from interiors and food photography to portrait and event photography. Its performance is reliable, and it seamlessly integrates into my workflow without requiring too much mental effort to operate. This versatility allows me to focus more on composition, lighting, and the creative aspects of each shoot, rather than struggling with complex technical details.
