I already reviewed a few of Miyazaki Sadayasu’s lenses but I had yet to get my hands on his MS-Optics 35mm 1.4 Apoqualia. Thanks to a reader from France I now got the chance and I am very curious what the pictures taken with it will look like and what its quirks are. Let’s discover together in this review.
Lens is being tested on 42mp Sony A7rII and 24mp Leica M10
Kodak Gold 200 is something special these days. I don’t have the feeling it has ever been a highly praised 35mm film, but it is one of the few color films that is affordable and still widely available in 2022.
Processing and scanning was done at urbanfilmlab in Germany.
Continue reading Analogue Adventures – Part 9: Kodak Gold 200
Modern lenses are too good, free of most optical aberrations even at their maximum aperture. This led to a whole new market emerging offering all kind of accessories to make your pictures look worse: kaleidoscope filters, prisms, streak filters and black mist/diffusion filters, the latter being what we will have a look at today.
The Samyang 10mm 3.5 XP is a bit of an odd lens. It is still the widest lens for DSLRs, but it was announced at a time when no one really cared about DSLRs anymore. And it came out after the Voigtländer 10mm 5.6, which surely didn’t help the marketing department. And in the meantime we also got the Laowa 9mm 5.6, which is even wider, has great optics and is small at the same time. So is there still a reason to get the Samyang 10mm 3.5 XP in 2022? Let’s find out in this review.
I always think we need more Pancake lenses, but except for the Samyang 24mm 2.8 and the recently reviewed TTArtisan 50mm 2.0 we didn’t get that many options in the Sony FE world yet. The latest addition is this Brightin Star 23mm 5.6. The first odd thing to notice: it is a fixed aperture lens, so it is always f/5.6 and cannot be stopped down further.
Can it still be a viable addition to your kit? Let’s find out…
