Canon TS-E 135mm F/4L Macro

Shift lens • Digital era

Abbreviations

TS Perspective Control lens.
E The lens incorporates an electromagnetic diaphragm mechanism.
L Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.
MACRO Macro lens. Designed specially for shooting close-ups of small subjects but can be also used in other genres of photography, not necessarily requiring focusing at close distances. Learn more

Production details

Announced:August 2017
Production type:Mass production
Production status: In production
Original name:CANON LENS TS-E 135mm 1:4 L MACRO
System:Canon EOS (1987)

Features highlight

Shift -12..0..+12mm
Tilt -10..0..+10°
Lens rotation
T/S rotation
1
ASPH
2
UD
F.E.
Auto
9 blades
MF
Macro 1:2
⌀82
filters

Specification

Optical design
Focal length:135mm
Speed:F/4
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Diagonal angle of view:18.2°
Lens construction:11 elements - 7 groups
1 ASPH, 2 UD
Floating element system
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:9 (nine)
Focusing
Closest focusing distance:0.486m
Maximum magnification ratio:1:2 at the closest focusing distance
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Tilt and Shift mechanism
Shift range:-12..0..+12mm
Tilt range:-10..0..+10°
Lens rotation:Yes
Tilt/Shift rotation:Yes
Physical characteristics
Weight:1110g
Maximum diameter x Length:⌀88.5×139.1mm
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 82mm
Lens hood:Bayonet-type ET-88 (round)
Teleconverters:Not compatible

*) Source of data: Manufacturer's technical data.

35mm equivalent focal length and speed (on APS-C cameras)

In terms of FoV & DoF
Camera series [Crop factor] Focal length SpeedMax MR Dia. angle of view
Canon EOS APS-C [1.59x] 214.7mm F/6.41:1.26 11.5°

Manufacturer description

Delivering L-series optics and a long working distance to the TS-E line-up, the TS-E 135mm f/4L Macro provides expansive tilt and shift range and a moderate f/4 maximum aperture ideal for product photography, studio portraits and any time where the situation calls for a lighting setup between the subject and the camera. Its optical formula includes two UD lens elements and an optimized lens coating for sharp, detailed images with minimized aberrations. Built for dependable, reliable operation, it features large, easily operated knobs and locking mechanisms, plus a convenient minimum focusing distance of 19 in./0.49m. Rounding out Canon’s premier line of TS-E lenses with its long focal length, the TS-E 135mm f/4L Macro offers performance and precision well-suited for advanced photographers.

An excellent addition to Canon's L-series collection of lenses, the TS-E 135mm f/4L Macro offers the outstanding optics, reliable performance and refined design, featuring the quality professionals and advanced photographers demand. Engineered to complement Canon's high-resolution camera sensors, it's poised to deliver phenomenal image quality in any number of applications.

Perfect for use in the studio, the TS-E 135mm f/4L Macro's 135mm focal length enables a long working distance. This can be incredibly useful when used in tandem with lighting equipment that's set up between the subject and the camera. With its maximum magnification of 0.5x and its macro specifications, the TS-E 135mm f/4L Macro is well-suited for everything from product photography to portraiture.

With a maximum aperture of f/4, the TS-E 135mm f/4L Macro delivers an optimal compromise of speed and size. Bright enough for a diverse number of applications, the f/4 maximum aperture also enables the lens to be lightweight enough for convenient use indoors, outdoors and virtually anywhere.

The TS-E 135mm f/4L Macro is designed to deliver the image quality necessary for detailed, high-resolution image capture. Two UD Glass lenses in an 11-element optical formula help to minimize chromatic aberration. The TS-E 135mm f/4L Macro's optics work together to reliably deliver gorgeous, high-resolution images with sharp edge-to-edge detail.

To help minimize the ghosting and flare that reflected light can cause on image capture, the TS-E 135mm f/4L Macro features Canon's SWC coating. Subwavelength Structure Coating (SWC) helps reduce flaring and ghosting caused by light hitting the lens at large angles, helping to deliver clear images with high contrast and minimal distracting glare.

For greater ease of use, the TS-E 135mm f/4L Macro features enlarged knobs for fast, intuitive control of tilt and shift. Feel free to make adjustments as you please without having to take your eyes off the composition.

To deliver high operability, the TS-E 135mm f/4L Macro features large tilt and shift lock knobs and a rotation lock release button. It also has a tilt-locking mechanism that keeps the lens in the zero position, helping to prevent unintended movement when in use.

For great flexibility in shooting, the TS-E 135mm f/4L Macro features a tilt range of ±10° to deliver a high level of control. Whether focusing on a subject not parallel to the camera's sensor, increasing or decreasing the lens's depth of field or establishing a specific plane of focus, the TS-E 135mm f/4L Macro's tilt range can prove indispensable in defining the composition.

For expansive control, the TS-E 135mm f/4L Macro features an incredibly large shift range of ±12mm, enabling seemingly impossible image capture with ease. This range helps the TS-E 135mm f/4L Macro eliminate converging lines, reflections or nearby objects from the composition, recompose the image without moving the camera and even capture a wide angle of view through photo stitching.

With a minimum focusing distance of 19 in./0.49m, the TS-E 135mm f/4L Macro is incredibly well-suited for close-up photography. Combined with its expanded range of movements, its minimum focusing distance helps make sharp and detailed close-up images with specifically defined depth of field a reality.

From the editor

The lens offers improved operability over previous models, including larger tilt and shift lock knobs, rotation lock release button and a new tilt-locking mechanism that firmly locks the lens in the zero-tilt position to help prevent unintended tilting to increase more precise shooting capabilities.

The lens can be tilted up to +/-10 degrees and shifted up to +/-12mm. The tilt and shift functions can be used singly or in combination. The tilt and shift can switch from right angle to parallel using the TS rotation feature. The lens can be rotated through +/-90 degrees with click stops at every 30 degrees to change tilt or shift direction.

Classification

  • Shift lens

    Shift lenses are high-quality lenses, usually wide-angle, that provide a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and manipulating the perspective especially for use in architectural and product photography.

    Whereas normal lenses designed for 35mm full-frame cameras have an image circle diameter of 43.27mm so that all four corners of the image are inside the image circle, shift lenses provide much larger image circle (60mm or even more). Decentration of the lens is possible within this area.

    Vertical shift is the most popular: upward when photographing high buildings, and downward for product shots, so that the camera does not have to be tilted. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.

Alternatives in the Canon EOS system

///// Sorted by focal length and speed, in ascending order /////

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

MF

Sorry, no additional information is available.

Shift lenses

Shift lenses are high-quality lenses, usually wide-angle, that provide a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and manipulating the perspective especially for use in architectural and product photography.

Whereas normal lenses designed for 35mm full-frame cameras have an image circle diameter of 43.27mm so that all four corners of the image are inside the image circle, shift lenses provide much larger image circle (60mm or even more). Decentration of the lens is possible within this area.

Vertical shift is the most popular: upward when photographing high buildings, and downward for product shots, so that the camera does not have to be tilted. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.

Lens rotation

By using rotation, the direction of the entire lens can be switched.

Tilt/Shift rotation

By using Tilt/Shift rotation, the relationship of the tilt and shift operation directions can be switched from right angle to parallel.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/4 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.