The Voigtlander 65mm F2 Macro APO-Lanthar is the second APO branded E-mount lens and promises great image qualities as well as macro capabilities in an unusual focal length. In this review I evaluate whether the high price and relatively large size are worth it.
You can find all images shown in this image in full resolution in this album.
update 4: minor updates about handling
update 3: added some alternatives and more sample images
update 2: new sharpness test, macro sample images
update 1: flare, sunstars, sample images
Despite the release of the native E-mount 14mm 2.8 AF lens by Samyang their older – all manual – 14mm 2.8 still has a significant fan base. It is one of the very few lowcost ultra wide angle options and well suited for astrophotography. But it is also a lens known for its ridiculously high distortion and questionable build quality, so let us find out what the whole package has to offer!
Most sample shots have been taken on Nikon DSLRs as in the last years I have pretty much exclusively used this lens for astrophotography on my A7 series cameras.
Choose the right lens for your Alpha with the help of our independent knowledge based on in-depth reviews.
We are a team of four photographers who all use the FE system and this blog is focused on lens reviews. So we have an in-depth knowledge of these lenses because we use them but also because we have reviewed most of them in detail. We are also independent from any lens manufacturer and when you check our reviews you will see that we do not hesitate to name any shortcomings of a lens.
In this article we only list lenses which have electronic contacts to communicate aperture and focal length to the camera. There are also quite a few lenses which have an E-mount but no electronic contacts. Most of these are SLR-lenses with a modified mount and we decided against covering these because we think that most of them are not very attractive lenses. We do however cover the Laowa 2/15 and Mitakon 0.95/50 because those are attractive lenses for some photographers.
All native full frame lenses for the Sony FE mount (as of August 2017)
The Laowa 15mm 2.0 Zero-D is a lens I have been waiting for eagerly since I took a few snaps with the prototype at Photokina in 2016. It is one of the very few lenses making actual use of the narrow flange distance of mirrorless cameras.
But does it only look good on paper or can it keep up with my high expectations? Find out in this review!
This is a Rolling-Review, bits and pieces will be added as we get to know the lens better. Last Update: Handling section updated regarding use with filter systems (08/08/17)
There are many good reasons to adapt manual lenses to the Sony A7 series cameras. To do so you need an adapter and this article will help you to choose the right one.
We are three guys from Germany who have adapted manual lenses for many years now. By using several dozen adapters over the years we have learned the hard way, that not all adapters are created equal. We hope that the money we spent on bad adapters will help you to avoid annoying miss-buys we experienced.
In the following two parts we tell you why you need an adapter in the first place, and which issues can arise with adapters. If all you need is the right adapter for your lens you can simply jump to Adapter Manufacturers].
All links marked with a * are affiliate links. If you use them we will get a few percents commission on your purchase without any added cost to you. If you want to support our manufacturer independent work please consider using them.
The Tokina Firin 20mm F2 is Tokina’s first lens for the E-mount and currently the fastest wide angle in the ~20mm range for the system. Read my in-depth review to decide if it could be a good addition to your camera bag.
The blogosphere melted down with frustration when the 135mm Batis was announced. Too slow and too expensive was the common verdict. But it’s also much lighter than the fastest medium teles, and faster and more convenient than the smallest. So is this lens the ideal compromise, or is it stranded uselessly between the fastest and the smallest? That will depend on performance, and handling. This review looks at just those issues.
Images can be seen and downloaded in full resolution here.
With the Sony A6500, Sony has entered the terrain of semi-professional crop cameras. The camera is significantly higher priced than other Sony APS-C cameras, and is directly competing with other smaller format flagship cameras like Fuji X-T2, Nikon D500, Olympus OMD-EM1 Mk2 or the Canon Eos 7D Mk2.
Furthermore, the Sony A6500 is now similarly (or even higher) priced than the Sony A7II. This leaves open the question for many people as to whether they should really spend that much on an APS-C camera, or if they should get a full frame body instead. The comparison is obvious, and legitimate, because the cameras share a few key specifications – like sensor resolution, mount, and sensor stabilization. Let’s check what sets these cameras apart from each other.
A super fast fifty millimetre lens can be a lot of fun. But arguably it’s not the best all around type of lens to have; it’ll be bigger and heavier than a more modest speed fifty, and likely not as good stopped down. It’s more of an occasional use specialty lens. So it makes sense not to spend vast sums for a Leica Noctilux. No-one makes a modern f1.2; and if and when they do it will no doubt be extremely expensive and very big and heavy. That makes the better legacy 50mm f1.2 lenses well worth investigating.
This review is of one of the better contenders: The OM Zuiko 50mm f1.2. It has a reputation for being usably sharp in the middle wide open, and sharpening up to decent overall performance stopped down. Does it live up to this reputation? Read on!
B: Hi Simeon, can you tell us a little bit about yourself and how you came to use manual lenses?
S: Hi! I will start with what I do for a living: I am a graphic designer and photographer based in Bulgaria. I started editing photos long before I had my first experience with a camera (and that was as part of my job as a designer). But it was only a matter of time for me to get excited about taking the pictures myself. I started with what gear was available in the companies where I was an employee, but back in those days the Canon G5 was like space technology in my eyes. Because of the huge depth of field of these compact cameras I was mainly focused on landscapes and macro. When I got bored of landscapes and macro I started to look around for something with a larger sensor.