The lens has a series of low dispersion and aspherical elements for sharp and clear photos. It also provides controlled fringing and aberrations. In addition, it’s durable, with splash-, dust- and freeze-proof features.
Last March, Irixi told us that they were working on an 11mm f/4 rectilinear lens. In September, DIYP even had the opportunity to play with one at Photokina. But now it’s official, the Irix 11mm f/4 is ready. An ultrawide rectilinear lens with very little distortion indeed, it’s a very impressive lens.
As with the Irix 15mm f/2.4, it’s available in two versions. There’s the premium Blackstone model, and the lower budget Firefly. Internally, the two versions are identical. The big difference between the two is the build quality. With the 11mm f/4, though, the Blackstone version also contains glow in the dark markings. Very handy for night time landscape shooters. No longer will you need to temporarily blind yourself with a flashlight or your phone’s LED to be able to see your settings.
It seems that the rumors around new Sigma lenses were true. At least partially though – because they didn’t launch two new lenses, but four of them. Sigma 14mm f/1.8 and 135mm F/1.8 Art prime lenses are accompanied by two zooms: 100-400mm f/5-6.3 and 24-70mm F2.8. Considering that it’s a Sigma Art lens that got the highest DxO Mark rating ever, you might want to consider buying one of the new Art lenses if you’re looking to add these primes or zooms to your gear bag.
One of the “fun facts” I remember from my photography classes was that “wide-angle lenses are not for portraits”. Of course, you can always experiment and photograph people with wider focal lengths, but the truth is – it does make them seem a bit weird in the photos. This fun gif shows precisely how the change of focal length affects the face of a person you’re photographing.
Back in early 2016 we interviewed IRIX about their new line of wide angle primes. Now we are back with some exclusive news and first sample photos. The good news: IRIX are moving from just Ultrawides to primes. Their first lens which was just announced is the IRIX 45mm f/1.4. You can see that lens in the video, it is quite a big lens, and if it holds up to the previous lenses optics it is going to be very interesting. and definitely form some competition to the Tokinas and Samyangs out there. (head over to our previous interview to see why we think the IRIX is such an exciting lens)
Panasonic have announced a new ultra fast, wide lens built for professional daily use. The Panasonic Leica DG Summilux 12mm f/1.4 ASPH lens for Micro Four Thirds cameras seems built to meet the needs of demanding photographers and filmmakers who need maximum resolution and low light performance.
Giving the equivalent field of view as that of a 24mm lens on a full frame DSLR, the fast f/1.4 aperture lets in a lot of light for shooting in darker conditions, and also offers a very shallow depth of field for more cinematic environmental portrait shots.
Ultra wide angle lenses are great, and if you’re a landscape shooter then you probably own at least one or two of them, but many have a bit of a problem in the form of built in lens hoods that prevent you from attaching filters.
While you may not want to use a polarising filter on a lens with a field of view so wide it can almost see behind itself, ND filters are often desired to produce long exposures giving landscapes a softer and more ethereal quality, or perhaps you simply want to slow down the shutter for video.
There is a new lens player in town – IRIX, looks like they are there to compete with Rokinon, Sigma and other prime lens makers. Their first lens is a 15mm f/2.4 full frame prime, and it looks delicious.
We had a chat with the European branch of IRIX a few days ago in the UK Photography show and we are impressed.
Let’s first be clear about something: Most zoom lenses, particularly full frame wide-angle zoom lenses, are prohibitively expensive. The term wide-angle refers to lenses somewhere in the 12mm to 35mm ballpark—with 12mm nearing the ultra-wide angle designation. You know the type—short and fat, big chunk of glass: the lenses that make everything appear a little larger than life.
For many professionals, zoom lenses are on our cameras more often than not. They are versatile, sharp and cover the most common shooting areas that we come across. Wide-angles are like the Swiss army knife of camera lenses, which will usually find their way into every photographer’s bag at some point.
Though they are not the best for traditional portraits (most wedding photographers prefer longer focal length prime lenses or long zoom lenses to get as much background blur as possible), wide angle lenses are good at capturing a perspective that reveals much of our natural field of vision. This is why they can make for stunning landscape photos, intricate close-up macro shots or architecturally perfect interior and exterior shots.
For real estate and architectural photographers, wide-angle zooms are indispensible to our craft and well worth the $1,500 plus price tag. But when starting out, or for those of us who are extremely rough on our gear, these budget alternatives can be a great way to get into that sublime focal length without breaking the bank.
Wide angle lenses let you pack a lot of action into the frame, but they also present a problem: distortion. Fortunately, if you know what to expect and some of the different ways you can work with it, distortion isn’t a deal breaker. In the quick video clip below, John Greengo shares some examples of the way distortion affects photographs at different focal lengths. He also shares some advice on how to you can work with distortion and use it to your advantage.
Check it out: