{"id":93861,"date":"2026-11-01T13:47:06","date_gmt":"2026-11-01T12:47:06","guid":{"rendered":"https:\/\/phillipreeve.net\/blog\/?p=93861"},"modified":"2026-11-01T15:50:49","modified_gmt":"2026-11-01T14:50:49","slug":"review-sirui-vision-prime-15mm-t1-6-cine-lens","status":"publish","type":"post","link":"https:\/\/phillipreeve.net\/blog\/review-sirui-vision-prime-15mm-t1-6-cine-lens\/","title":{"rendered":"Review: Sirui Vision Prime 15mm T1.6 (Cine Lens)"},"content":{"rendered":"

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Introduction<\/span><\/h2>\n

Today, we’re looking at the Sirui Vision Prime 15mm T1.6, an ultra-wide-angle cine lens with an impressive maximum T-stop of T1.6. That’s a pretty fast lens for an ultra-wide-angle, especially for a cine lens.<\/p>\n

But this lens also has a rather unusual trick up its sleeve: the same lens can be used on Sony E, Nikon Z, Canon RF, and L-mount cameras.<\/p>\n

Let’s have a look at how it performs.<\/p>\n

\"camera-icon2\"I tested this lens on a 46 Mp<\/a> Nikon Z7ii<\/a> (Sample images were taken with a Nikon Zf <\/a>and Sony A7C II<\/a>)
\n\"\"You can see this review as\u00a0a\u00a0YouTube\u00a0video\u00a0here<\/a>!
\n\"\"Sample images in high resolution here<\/span><\/a>.<\/p>\n

Disclosure<\/span><\/h2>\n

Sirui kindly provided this lens for testing and review purposes.<\/p>\n

Sample Images<\/span><\/h2>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6<\/figcaption><\/figure>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6<\/figcaption><\/figure>\n
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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T11<\/figcaption><\/figure>\n
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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T8<\/figcaption><\/figure>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6 | T1.6<\/figcaption><\/figure>\n
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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T1.6<\/figcaption><\/figure>\n

<\/p>\n

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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T11<\/figcaption><\/figure>\n
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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T11<\/figcaption><\/figure>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6 | T1.6<\/figcaption><\/figure>\n
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Nikon Zf | Sirui Vision Prime 15mm T1.6 | T8<\/figcaption><\/figure>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6 | T1.6<\/figcaption><\/figure>\n
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Sony A7C II | Sirui Vision Prime 15mm T1.6 | T1.6<\/figcaption><\/figure>\n

Most of the sample images in this review and many more can be found in higher resolution here<\/a>.<\/span><\/p>\n

<\/span><\/p>\n

Specifications<\/span><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Focal Length<\/td>\n15mm<\/td>\n<\/tr>\n
Angle of View<\/td>\n109.3\u00b0<\/td>\n<\/tr>\n
# of Aperture Blades<\/td>\n12<\/td>\n<\/tr>\n
Max Aperture<\/td>\nT1.6<\/td>\n<\/tr>\n
Min Aperture<\/td>\nT16<\/td>\n<\/tr>\n
Min Focus Distance<\/td>\n0.3 m<\/td>\n<\/tr>\n
Filter Size<\/td>\n77mm<\/td>\n<\/tr>\n
Lens Mount<\/td>\nE, RF, L, Z<\/td>\n<\/tr>\n
Weight<\/td>\nE: 607 g
\nRF: 620 g
\nL: 607 g
\nZ: 620g<\/td>\n<\/tr>\n
Size (D x L)<\/td>\nE:\u00a0 80 x 107 mm
\nRF: 80 x 105 mm
\nL:\u00a0 80 x 105 mm
\nZ:\u00a0 80 x 109 mm<\/td>\n<\/tr>\n
Elements\/Group<\/td>\n17 \/ 12<\/p>\n

3 Aspherical elements
\n1 ED glass
\n4 HRI Glasses<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\"\"<\/p>\n\n\n\n
Where to Buy:<\/strong><\/p>\n

New: Sirui Store<\/a>, <\/strong>Amazon (anywhere)<\/a>, B&H<\/a> for $649 (Affiliate links)<\/em>
\n<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Handling and Build Quality<\/span><\/h2>\n

The lens is built entirely of metal and feels very solid in the hand. That’s what we’d normally expect from a cine lens, and this one is no exception. As is typical of dedicated cine lenses, it’s fully manual, with no autofocus or automatic aperture control from the camera. There aren’t even any electronic contacts on the lens mount for data transmission. There’s a rubber gasket around the lens mount for weather sealing.<\/p>\n

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The focusing ring turns very smoothly and has a massive 270-degree rotation, allowing for precise adjustments. However, because of the ultra-wide angle of view, details appear so small that precise focusing can be difficult. Using focus magnification or an external monitor is strongly recommended. On several occasions, I thought I had nailed the focus, only to discover later, when reviewing the images on my computer, that the shots were out of focus and had to be deleted.<\/p>\n

The focusing distances are engraved in feet and meters and filled with paint. The meter markings are white, while the feet markings are blue. The two scales are completely separate and do not align with each other. The meter scale is on the left side of the lens, while the feet scale is on the right.<\/p>\n

The aperture ring is clickless and marked in one-third-stop increments from T1.6 to T4, then in full-stop increments from T4 to T16. The spacing between the markings varies, becoming so small beyond T5.6 that there’s no room for a T11 marking. Instead, only a dot indicates its position. Since the aperture ring is clickless, it can be difficult to tell whether you’re actually at T11, T9.5, or T14.<\/p>\n

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Both the focusing ring and the aperture ring are geared. The gears have the same specifications as those on the other five lenses in the series (24, 35, 50, 75, and 150mm), making it easy to switch between lenses when using a follow-focus system. However, this lens has a 77mm filter thread, while all the others in the series use 67mm filters.<\/p>\n

The lens comes with four different mounts: Sony E, Nikon Z, Canon RF, and L-mount. You can swap the mounts using the included screwdriver. There are also eight spare screws in the box. Each mount has its own rear cap.<\/p>\n